Proc SocTHE Antiq ARTISTIC Scot 147 PATRONAGE (2017), 175–217 OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 175 DOI: https://doi.org/10.9750/PSAS.147.1251

The artistic patronage of John Stuart, Duke of Albany, 1520–30: Vic-le-Comte, the last Sainte-Chapelle

Bryony Coombs1

ABSTRACT The Sainte-Chapelle at Vic-le-Comte is one of the most important religious buildings surviving from the 16th century in the Auvergne. It was the last of ten French royal and ducal chapels founded, broadly following the precedent set by Louis IX’s foundation of the Parisian Sainte-Chapelle in 1248. The primary function of this, and the other Saintes-Chapelles, was to provide a dignified structure within which to house fragments of the Passion relics inherited from Louis IX. For their patrons, such foundations served as important public expressions of piety, advertised the patrons’ connections to the French crown, and simultaneously functioned as valuable diplomatic tools, encouraging important guests to venerate their relics. The Sainte-Chapelle at Vic-le-Comte has received limited scholarly attention, particularly in relation to its patron John Stuart, Duke of Albany, and his position as Regent of Scotland. This paper examines this foundation and its ambitious programme of decoration in relation to the aims and ambitions of its founder. The motivations behind the project are analysed in relation to Albany’s position in Scotland, his growing prominence in France, and his strengthening ties to the Florentine Medici family. Investigated in relation to other examples of his patronage, Albany’s foundation demonstrates how issues of ancient lineage, sacred kingship, and dynastic commemoration were of central importance.

Louis IX’s acquisition of the Crown of Thorns last Sainte-Chapelle to be built in France was in 1239 and other relics, including fragments founded in 1520 by John Stuart, Duke of Albany. of the True Cross in 1246, inspired him to Albany was born in the Auvergne in 1482. He commission a fitting chapel to be built in which was the son of Alexander Stuart, Duke of Albany: to house them. The chapel was built within the the second son of King James II of Scotland and royal palace on the Ile-de-la-Cité, Paris. It thus Mary of Gueldres.4 At an early age, Albany performed a double purpose as a reliquary church entered the court of Louis XII, and in 1505 and a palace chapel. It was richly decorated with married his cousin, Anne de la Tour. This match sculpture, stained glass and painted decoration. secured him the titles of comte de Boulogne, The chapel is today considered among the highest de la Marche and d’Auvergne. A pivotal point achievements of the Rayonnant period of Gothic in Albany’s career came on 9 September 1513, architecture.1 The term Sainte-Chapelle was also when King James IV was killed at Flodden, applied to a number of other buildings which leaving the infant James V as his successor. ‘copied’ Louis IX’s original structure, in that Albany became heir presumptive and, almost they were royal, or ducal, chapels following a immediately, ambassadors were dispatched from broadly similar architectural form, built to house Scotland to Louis XII, to remind him of the two relics, particularly fragments of Louis’ Passion countries’ special bond, and request that Albany relics deriving from royal gifts.2 The foundation travel to Scotland.5 Margaret Tudor forfeited of such a chapel required papal approval and was, her position as regent in 1514 by marrying furthermore, exempt from local jurisdiction.3 The Archibald Douglas, sixth earl of Angus, thus

1 [email protected] 176 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017 causing Albany to be proclaimed regent.6 Albany chapel was so cramped, dark and gloomy that travelled to Scotland three times over the course the canons and the faithful were hindered in of his regency.7 their attempts to celebrate the divine office. The That Albany and his wife, Anne de la Tour, Sainte-Chapelle was constructed on the site of founded a Sainte-Chapelle adjoining their ducal an older Romanesque chapel adjoining the ducal château at Vic-le-Comte, during the period that château.13 Albany’s initial plans for the foundation Albany was acting as regent of Scotland, has were likely underway c 1518–19 and surviving received little scholarly attention.8 The purpose documentation suggests that in 1529 Albany was of this paper is to examine this foundation, and its still preoccupied with commissioning decorative extensive programme of decoration, in relation features for his new place of worship. Thus, to Albany’s position at this time: as regent of the construction and decoration of the building Scotland, an important nobleman and military spanned the 1520s. commander in France, and as valued kinsman of A 17th-century copy of an apparently much the Medici family in Italy. The paper analyses older document, made by the French scholar the theoretical framework that underpinned Étienne Baluze, provides a glimpse into the this project and highlights the impetus behind manner in which the divine service was performed the foundation and its complex programme of within the chapel.14 The document records the decoration. presence of eight vicars or chaplains presiding over the ceremony, testifying to the munificence of the founders, while the details of the service THE FOUNDATION eloquently attest to the great importance placed on venerating one’s ancestors and honouring the On 21 June 1520, Pope Leo X granted a papal dead. The document also provides evidence of bull, at the request of John Stuart, Duke of Albany and his wife’s intentions: to provide a Albany (1482–1536), and his wife, Anne de la grand setting for the commemoration of their Tour (1496–1524), to authorise the foundation ancestors and to, henceforth, house the sepulchres of a collegiate church in order that they might of the counts of the Auvergne. Furthermore, two provide a dignified structure within which to of the three masses assigned to the salvation of house a number of precious relics: a thorn from the family were also to provide for the salvation the Crown of Thorns and a fragment of the True and prosperity of the founders; the preservation Cross.9 A chapel was to be erected adjoining of their memory and the salvation of their souls the grand ducal château at Vic-le-Comte, being of primary importance.15 Their desire was, founded under the double invocation of ‘the therefore, to found a chapel with a treasury, seal Saintly Crown of Thorns of Jesus Christ and of and other privileges accorded to an institution Saint John the Baptist’, the patron saint of the of this nature. The foundation was to support a founder, and was to be exempt from episcopal dean, eight canons in receipt of prebends, eight jurisdiction.10 in receipt of semi-prebends and four novices.16 The same pope, under a second papal bull When Anne de la Tour died in 1524, her dated to 1 December 1521, conferred a number will stated that she left all her burial and funeral of indulgences on those who used the chapel.11 arrangements in the hands of her husband and was Specifically, he granted the sanctuary the thus likely interred in the Sainte-Chapelle.17 When privilege of the Roman stations. Thus, the faithful Albany died at Mirefleurs in 1536, it appears that who visited the Sainte-Chapelle on specific feast he joined his wife and was also interred there. In days could earn the same indulgences as if they the 17th century, Baluze recorded a transcription had visited the churches of Rome designated for of a plaque which marked the resting place of stations.12 This document, furthermore, explicitly the founders’ hearts, located at the altar of the details the wish of the founders to create a chapel.18 Following Albany’s death, and in magnificent building, noting that the existing the absence of any legitimate heirs, the Sainte- THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 177

Chapelle passed to Catherine de Medici and thus ground floor was originally accessed through a to the French Crown.19 door sheltered by a porch, now walled up, that was situated in the first bay of the north wall. Originally the upper chapel was accessed directly THE PHYSICAL STRUCTURE from the château by a door on the west side. This allowed the Duke and his wife to move directly The Sainte-Chapelle at Vic-le-Comte is to their oratory from their apartments situated on composed of a single nave of four bays, closed to the first floor of the château.21 the east by a three-sided polygonal choir, covered In the north wall a spiral staircase leads by a ribbed vault (Illus 1). The chapel, which from the ground floor to the roof. Two auxiliary forms the choir of the current extended building, spaces, accessible from the inside, also along measures 18m × 9m.20 It consists of two levels, the north wall, confer an irregular character separated by a gallery that runs along the inside to the perimeter of the edifice. The three-sided wall. The chapel is illuminated by three large apse is preceded on the north side by a small stained glass windows situated in the apse, at extension which houses the sacristy. Visible the level of the gallery (Illus 2). Access to the traces of archivolts framing small Romanesque lower chapel area was added in the 19th century, openings suggest that the founders, for the sake through a door on the south side. However, the of expediency or economy, did not build the

Illus 1 Aymon Mallay, ‘Plan of the Sainte-Chapelle at Vic-le-Comte’, 1841 (Ministère de la Culture – Médiathèque de l’architecture et du patrimoine – diffusion RMN) 178 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

Illus 2 The interior of the Sainte-Chapelle at Vic-le-Comte looking towards the reredos and apse (B Coombs 2009) THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 179

Sainte-Chapelle ex nihilo, but rather adapted The adjoining ducal château at Vic-le- the old Romanesque chapel when creating the Comte no longer survives.24 However, several new building. Thus, only the apse and the lateral early drawings provide us with an idea of how spaces built in stone are attributable to the 16th the two buildings were orientated. The earliest century. surviving visual evidence of the château is an Outside, the apse is reinforced by four illustration dating to 1518 (Illus 4).25 The sketchy powerful buttresses, and at the top of the wall topographical portrait is accompanied by a poem, an ornate frieze runs around the circumference which notes its antiquity and suggests that during of the building. The frieze consists of sculpted John Stuart’s lifetime it was still undergoing vegetal and zoomorphic motifs including: improvements.26 thistles, oak leaves, griffins, a pelican in her piety, a salamander, deer, lions, grotesques, a Il y a mille ans que je suis faict. green man, aquatic beasts, instruments of the I was made one-thousand years ago Passion, a centaur, the Holy Dove and a unicorn De mon premier commencement. (Illus 3). The salamander represents the emblem As of my beginning Encores ne suis pas perfaict. of Francis I and it is likely, therefore, that the Still I am not perfect inclusion of the unicorn and the thistle relate to Du tout en tout entièrement. the iconography of the royal house of Scotland 22 All in all entirely and Albany’s place within it. The design of this Maiz j’ay ung bel soulagement. frieze is identical in style to one adorning the But I have a beautiful solace access to the Sainte-Chapelle at Aigueperse. This Chescun m’appelle Vic-le-Comte. was most likely added by Charles III de Bourbon Everyone calls me Vic-le-Comte between 1510 and 1520, and is an interesting Il y a longtemps certainement. example, therefore, of the recognition between It has certainly been a long time de Bourbon and Albany of their equivalent grand Qu’on a tenu de moy grand compte. architectural foundations.23 Since people have thought greatly of me.

Illus 3 The frieze on the exterior of the Sainte-Chapelle at Vic-le-Comte, showing a unicorn, the Holy Dove and a centaur (B Coombs 2009) 180 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

Illus 4 Bremond Domat, the château and chapel at Vic-le-Comte, Généalogie de Madame Anne de la Tour, princesse de l’Écosse. KB 74 G 11, f 55v. 1518 (© Koninklijke Bibliotheek, Den Haag) THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 181

Illus 5 The château and Sainte-Chapelle at Vic-le-Comte, Revenus du comté d’Auvergne, avec les revenus particuliers et les portraits des châteaux. Ars MS 4264, f 2r (© Paris BnF) 182 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

Illus 6 ‘The château and Sainte-Chapelle at Vic-le-Comte’, 17th-century watercolour. Courtesy of Professor Michael Greenhalgh, Australian National University

This drawing predates the reconstruction the chapel was destroyed, many decorative details of the old chapel into the new Sainte-Chapelle, were defaced, and major items of equipment were although plans were no doubt underway at this destroyed or sold. It was classed as a Historic time.27 The spire depicted behind the château is Monument in 1840, and enlarged in 1842–3 by outwith the ducal enclosure and represents the the diocesan architect Aymon Mallay.29 The west church of Saint John the Baptist to the south-west wall of the chapel was lost at this time to make of the château. A later version of this drawing way for the expansion of the building and the dating to 1552 includes the Sainte-Chapelle, creation of a nave forming today’s parish church. although with an imprecise rendering of the A recent comprehensive restoration of the interior 28 relationship between the two buildings (Illus 5). took place after 1990. The chapel survives, A 17th-century watercolour, however, provides a despite its turbulent history, as a building of great detailed account of how the two buildings were historic and aesthetic significance. aligned, again including the church of Saint John the Baptist to the south-west (Illus 6). The poem and the three images noted here provide us with THE PROGRAMME OF INTERIOR important information regarding the château and adjoining Sainte-Chapelle: the poem supports the DECORATION suggestion that the foundation of the new chapel The programme of interior decoration employed fitted into a larger programme of work undertaken by Albany to improve and aggrandise the ducal in the Sainte-Chapelle is a fascinating visual château. Furthermore, the images provide visual testimony to the grandeur and magnificence that evidence of the proximity and orientation of the Albany and Anne de la Tour wished to project. In two buildings, a factor of great significance in the section that follows, after outlining the major relation to the decorative programme employed. features of the iconographic programme, I will The ducal château subsequently fell into ruin concentrate on analysing its theoretical basis and and now survives only as a gateway with a section the international context into which it must be of the façade leading onto the modern-day rue de la placed in order to be fully understood. Initially, Porte Robin. The Sainte-Chapelle has fared better however, a brief description of the major over the years, yet suffered from desecration in decorative components provides an overview of the wake of the French Revolution. In 1793 it was the efforts, both financial and intellectual, that converted into a ‘temple of justice’. The floor of went into realising the foundation. THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 183

THE STAINED GLASS WINDOWS The chapel is lit by three large windows set in the walls of the apse above the gallery (Illus 2). These windows are almost identical in composition: each is divided by three mullions into four lights. The trefoiled lancets are crowned with a pierced tympanum, composed of three soufflets, ten mouchettes, and ten spandrels.30 The subject of the axial window occupies the whole window, while the two side windows are divided into six registers of four panels each. The central window is filled with a large depiction of the Tree of Jesse, below which are donor portraits of Albany and his wife kneeling before prie-dieux, which bear their respective arms (Illus 7). The panels of the south window are composed of scenes from the New Testament, while those of the north display a complex series of Old Testament prefigurative scenes (Illus 8). The tympanum of the south window is decorated with angels bearing the Instruments of the Passion and the sun, that of the north window by musical angels and the moon.31 The eight panels composing the two lower registers of the south and north windows are reconstructions undertaken in 1898 by Félix Gaudin, after cartoons by Victor Tardieu, following the original iconography.32 The 16 panels composing the upper four registers of each window are Illus 7 The axial window in the apse of the Sainte-Chapelle at Vic-le-Comte original and date to the 1520s. (B Coombs 2009) The Tree of Jesse in the central window dates to 1891 and is 184 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

Illus 8 The Old Testament (left) and New Testament (right) windows in the apse of the Sainte-Chapelle at Vic-le- Comte (B Coombs 2009) the work of Félix Gaudin and Eugène Grasset, and survive as an important testimony to the again following the original iconography that artistic tastes and magnificence of Albany. The disappeared at the end of the 18th century.33 complex typological programme with its strong The reconstructed portraits of the donors may genealogical and dynastic values is appropriate be compared with an engraving of the original for a Sainte-Chapelle, and yet contains a number representations made by Baluze in 1708 (Illus 9). of extraordinary details. Identifying the atelier The typological programme of Old and New responsible is not easy; however, similarities Testament scenes depicted is one of the most in composition and decorative elements have significant surviving examples of 16th-century been drawn to the celebrated glass-painter from stained glass from Renaissance France. The great Bourges, Jean Lécuyer, and may be a product originality of this programme, as highlighted by of his, or an associated atelier of Bourges.36 Luneau, is testament to the importance placed Of particular note in the windows is the use by Albany on the decorative programme of his of contemporary early 16th-century dress and foundation.34 The complexity of the programme ornate suits of armour, which confer a distinctly of stained glass, and indeed of the programme military aspect to the Old Testament windows of decoration as a whole, is such that it appears (Illus 10).37 likely that Albany employed a theologian or The importance of light to the conception of academic to devise the scheme.35 Installed the building of the Sainte-Chapelle reflects the c 1524, the windows are of an exceptional quality, preoccupation with the concept of divine light, THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 185

Illus 9 ‘Portraicts de Jean Stuart Duc d’Albanie et d’Anne de la Tour d’Auvergne sa femme, tirez d’une vitre de la Sainte-Chapelle de Vic le Comte’ (Baluze 1708). Reproduced by permission of the National Library of Scotland made explicit in the original Parisian foundation separated by a large corbelled gallery (Illus 11). and echoed in numerous examples of stained glass Albany and his wife could thus access the upper windows in the later Saintes-Chapelles.38 The gallery space directly from their apartments on typological programme employed at Vic-le-Comte the first floor of the château. This arrangement utilises both iconographic and compositional emphasised Albany’s magnificence and projected typology to stress themes of sacred kingship and his elevated status in very literal terms. The dynastic royal authority, which will be examined gallery runs around the interior of the original more closely in due course. The iconography is edifice, with the exception of the west wall, and derived from a multiplicity of sources and forms forms a richly ornamented element of the overall a unique iconographic programme (Appendix decorative programme, all in Renaissance rather 1). The time and expense evidently incurred than Gothic style. The lower projecting part emphasises the importance placed by Albany on is an attempt at a classical entablature, with an projecting a didactic message. oversize architrave including an egg and dart ovolo moulding, a disproportionately narrow frieze, and a cornice. Above runs a parapet THE GALLERY AND BALUSTRADE with balusters punctuated by fluted pedestals. Aristocratic chapels were frequently divided into At regular intervals the gallery is adorned with two levels, allowing the lord and his family to sculpted coats of arms. These are now greatly occupy the upper level, physically distancing defaced, however, they originally displayed themselves from those using the chapel on the alternately the arms of Albany with those of level below.39 At Vic-le-Comte the two levels are Albany impaled by those of his wife.40 On 186 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

Illus 10 Daniel revealing the meaning of Nebuchadnezzar’s dream, as Nebuchadnezzar condemns the wise men of Babylon, from the Old Testament window of the Sainte-Chapelle at Vic-le-Comte (B Coombs 2009) the level of the gallery are two small auxiliary century stone reredos (Illus 12). Although chapels, one to each side, whose vaulted ceilings mutilated in some of its details, it survives as are each ornamented with a heraldic boss bearing a remarkable example of 16th-century French the arms of Boulogne and d’Auvergne.41 Thus sculpture. It takes the form of a richly ornamented the interior is prominently adorned with heraldic portico, surmounted by a pediment bearing three signifiers, stressing the identity of the founder, pedestals originally intended to support statues. his family, and his ancestry. The façade of the reredos is occupied by two stages of niches: the lower four, displaying sculpted figures of the cardinal virtues, and the THE REREDOS upper three, the theological virtues.42 Originally In the apse, rising above the height of the the pedestals supported sculpted figures of God balustrade, stands a finely carved early 16th- the Father in the centre, flanked by Adam and THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 187

Illus 11 The gallery, balustrade and two of the terracotta apostle figures from the apostolic gallery of the Sainte-Chapelle at Vic-le-Comte (B Coombs 2009) 188 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

Illus 12 The early 16th-century stone reredos displaying the cardinal and theological virtues at the Sainte- Chapelle at Vic-le-Comte (B Coombs 2009) THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 189

Eve on each side. This was replaced by figures of his chapel. Transporting these figures almost of the Virgin and two angels c 1834, apparently 300 miles (483km) from Paris to Vic-le-Comte due to 19th-century distaste of Adam and Eve’s was an enormous undertaking for the period. nudity.43 Despite early commentators attributing Furthermore, Albany’s evident desire to integrate the work of the reredos and the gallery to later a fashionable Italian aesthetic in his foundation Italian sculptors employed by Catherine de is telling when viewed in light of his personal Medici, both works are French, the reredos being connections to Italy, as uncle and guardian of consistent in style with a successor to Michel Catherine de Medici. Colombe, perhaps the work of Jean de Chartres The visual presence of the apostolic college or an associate.44 The choice of iconography, in the Sainte-Chapelle at Vic-le-Comte was the personifications of the virtues, is in line with evidently judged necessary by Albany, in order to French courtly tastes for funerary statuary during evoke a close connection to the original Sainte- this period. For instance, the tomb of Francis II, Chapelle in Paris, and perhaps other earlier Duke of Brittany, at Nantes was executed in the foundations, such as Jean, duc de Berry’s chapel early 16th century by Michel Colombe, based in Bourges.49 It demonstrated strong visual on a design by the royal artist Jean Perréal, and connections to the French tradition of the Sainte- prominently features personifications of the Chapelle, while simultaneously employing the cardinal virtues.45 The reredos at Vic-le-Comte is most the most up-to-date Italian aesthetics. profusely adorned with heraldic devices which, although defaced, may be identified as those of THE SACRISTY, TREASURY AND OTHER the royal house of France on the pediment, and of DECORATIVE ITEMS Albany, and the arms of Albany impaled by those of his wife, on the façade.46 The lintel of the door to the old sacristy was originally adorned, according to Baluze, by an elegant carving of Albany and Anne de la Tour’s THE APOSTLES arms (Illus 13),50 a visual reminder to visitors On the wall between the level of the gallery that the work performed in the chapel was a and the vaulted ceiling is a sculpted gallery of direct consequence of the founders’ generosity. 12 terracotta figures of the apostles (Illus 2 and The heraldic signifiers also emphasised that 11). The statues are set into decorative carved the important relics housed in the chapel were niches, ornamented with the attributes of the four the inheritance of this important family. Papal evangelists and carved floral motifs. While the approval for the foundation of the building sculpted reredos may be attributed to the work rested on Albany and his wife’s inheritance of of French artists, the apostolic college betrays a two important Passion relics: a thorn from the knowledge of cinquecento Florentine sculpture Crown of Thorns and a splinter from the True and has been convincingly attributed to the Cross. Both relics derived from the original Florentine artist Giovanni Francesco Rustici, Capetian examples housed in the Sainte- who was working in Paris in the late 1520s.47 Chapelle in Paris.51 Furthermore, the papal bull A document brought to light by Leproux, for the foundation records the presence of many dating to August 1529, notes that three carriers relics of the Virgin and the Apostles housed in were charged to transport from Paris to Vic-le- reliquaries.52 In the early 18th century, Baluze Comte ‘douze ymages de terre cuyte des douze recorded several ornate reliquaries, including apostres Nostre Seigneur’.48 The document does a mid-15th-century example commissioned not name the sculptor, however, an attribution by Bertrand VI, comte d’Auvergne, and a to Rustici on stylistic and circumstantial hexagonal ivory reliquary supported by two grounds is convincing. The documentation of angels containing a tooth of the Virgin all housed this transportation of sculptures is important: in the Sainte-Chapelle.53 He also recorded the it demonstrates the great lengths that Albany presence of four richly embroidered chasubles, went to to complete the decorative programme again bearing the arms of Bertrand VI, comte 190 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

Illus 13 ‘Armoiries de Jean Stuart Duc d’Albanie et d’Anne de la Tour d’Auvergne sa femme tirez d’apres celles qui sont sur la porte de la Sacristie de la Sainte-Chapelle de Vic le Comte’ (Baluze 1708). Reproduced by permission of the National Library of Scotland THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 191 d’Auvergne, providing further evidence of the existence, however, of a fragment of a register, visual splendour employed in the chapel.54 containing copies of acts relative to the Other surviving decorative features of the foundation of the Sainte-Chapelle, pasted into a Sainte-Chapelle at Vic-le-Comte include several 12th-century Sacramentaire de Senlis indicates early paintings whose provenance appear tied to that this manuscript may have been used in the the chapel. An early 16th-century quadriptych, chapel. The fact that it now forms part of the painted on wood, is still displayed there. The collection of manuscripts in the Bibliothèque painting represents four Stations of the Cross: Sainte-Geneviève, where we know another of Simon of Cyrene helping Jesus bear the Cross; Albany’s manuscripts is held, may support this Jesus stripped of his garments; his death on the hypothesis.59 Unfortunately the beginning of Cross and his being laid in the tomb.55 The frame the register is missing and it is difficult to is decorated with the monogram INRI, Iesvs determine for certain if this was a document in Nazarenvs Rex Ivdaeorvm (Jesus the Nazarene, Albany’s possession at the time it was written King of the Jews). Few of the early accounts of in 1530. the chapel mention the painting, and much of the recent literature also fails to note this work.56 However, an identification of the subject of the THE THEORETICAL FRAMEWORK: painting as a meditation on the Stations of the ANCIENT DESCENT Cross, which has not previously been recognised, suggests a connection with the papal indulgence Albany was proclaimed regent of Scotland in granted to the foundation in 1521. Although 1514 and in 1518 a chain of events unfolded that nothing of the early history of the painting is greatly bolstered his position, both in social and known, its iconographic relevance to this event political terms. On 2 May 1518, Madeleine de la suggests that it may have been acquired by Tour, his sister-in-law, was married to Lorenzo Albany in recognition of this privilege.57 de Medici, Duke of Urbino. The marriage was Throughout the history of the chapel a extremely important for Albany, substantially number of magnificent items appear to have elevating his standing in France by allying him been held there. The circumstances surrounding with the powerful Florentine Medici family, their commission and how they were acquired and by providing him with a direct connection is currently unknown. In 2010, it came to light to Lorenzo’s uncle, Pope Leo X: a connection that an early 15th-century painting of the Pietà Albany was keen to exploit, both for his own with Saint John and two angels, attributed to ends and on behalf of Scotland. This can be seen the French painter Jean Malouel (1370–1415), in Albany’s correspondence with the papacy had been discovered in a storeroom adjoining directly after this time.60 the chapel.58 A plausible explanation for the Madeleine gave birth to Lorenzo’s only child, existence of the panel at Vic-le-Comte is that Catherine, at Urbino on 19 April 1519, however, it was acquired by Jean, duc de Berry. In 1400 within several months of the birth both parents Vic-le-Comte was the property of Jean de Berry, died. This left Catherine’s closest relatives as brother of Philip the Bold, Duke of Burgundy, Pope Leo X and Albany. Francis I decreed that the patron of Jean Malouel. After inheriting land the child should inherit her parents’ share of the in the Auvergne, Jean de Berry set to expanding de la Tour lands and properties, making Catherine or rebuilding the châteaux of his fiefdoms, de Medici a great heiress in France. Following including Vic-le-Comte. Indeed, the château the death of Pope Leo X on 1 December 1521, was completely rebuilt at the end of the 14th Albany was appointed Catherine’s tutor and century. It is likely that on this occasion the Duke guardian, as her closest male relative. commissioned the panel for the château chapel, During this key period of 1518–19, when which was later rebuilt as the Sainte-Chapelle. Albany’s ties to the Medici family were forged, Nothing is known of the manuscripts he commissioned two genealogical manuscripts: originally held in the Sainte-Chapelle. The a French translation of the Liber Pluscardensis, 192 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

Illus 14 Bremond Domat, ‘Illuminated Genealogy of the Kings of Scotland’, Chronique d’Écosse & généalogie des rois d’Écosse. MS 936, f 256v, 1519 (© Bibliothèque Sainte-Geneviève, Paris. Courtesy of Nabil Boutros) THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 193

Illus 15 Bremond Domat, ‘Les armes de la fille Du roy descoce qui fut comtesse de boloigne’, Généalogie de Madame Anne de la Tour, princesse de l’Écosse. KB 74 G 11, f 40v. 1518 (© Koninklijke Bibliotheek, Den Haag) 194 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017 with an illuminated genealogy of the kings of character of the material included in the chronicle Scotland appended (the Paris Manuscript), and and again noted the kingdom of Scotland’s a composite manuscript including genealogical sovereignty and antiquity. Examined in light material relevant to his wife’s family, the of the iconography employed in the Sainte- counts of Boulogne and d’Auvergne (the Hague Chapelle, it appears that Albany was concerned Manuscript).61 This dual commission highlights with illustrating his place as a descendant of Albany’s preoccupation with his ancestry and the ancient line of the kings of Scotland in a lineage in the years immediately prior to his broader cosmological scheme. There are several foundation of the Sainte-Chapelle. points that arise from this: a preoccupation with The principal iconographic focus of the kingship and dynastic concerns, which will be programme of decoration in the Sainte-Chapelle dealt with in due course, and a desire to reinforce is the Tree of Jesse, adorning the axial window, an idea of cohesion between his wife and his dual below which kneel the donor figures, Albany descent from St Louis and the ancient kings of and Anne de la Tour (Illus 7 and 9).62 While the Scotland. north and south windows emphasise the Passion, The iconography employed in the chapel, with the concordance between the Old and New viewed in relation to the genealogical Testaments drawing particular attention to the manuscripts, suggests that Albany was concerned Passion relics, the central window unites the with illustrating the importance of a union scheme by drawing attention to the genealogy of between a descendant of the kings of Scotland Christ and his earthly lineage. Christ’s ancestral and of the Capetian kings of France. This was descent from Adam was popularly conflated a joining of bloodlines which had occurred with the Tree of Jesse. In the Sainte-Chapelle previously and which is highlighted in the Hague this point was highlighted by the positioning Manuscript by the earlier marriage of Mary, the of the carved stone reredos in front of the axial youngest daughter of Malcolm Canmore and St window, which aligned the stone sculptures of Margaret of Scotland, to Eustace III, Count of Adam and Eve on each side of the stained glass Boulogne (Illus 15).65 Eustace III was the brother Tree of Jesse, thus suggesting a dual reading of Godfrey of Bouillon, a leading figure in the of the tree: as the Tree of Jesse and as the Tree first crusade, who also features prominently in of Knowledge. The inclusion of Albany and this genealogy (Illus 16). Godfrey was famed his wife kneeling below the tree integrated the for his role in the successful siege of Jerusalem founders’ earthly lineage into this Christian in 1099, upon which he was declared the first cosmology.63 ruler of the kingdom of Jerusalem, however, he In the introduction to the illustrated genealogy refused the title of king declaring that he would in the Paris Manuscript, the author, Domat, never wear a crown of gold where his Saviour makes his intention clear. He stresses that it was had worn a crown of thorns.66 written to ‘clarify and resolve the very illustrious Having examined the theme of lineage in and ancient lineage of Scots to that end that relation to the intellectual proximity of the every noble prince descended from this line may foundation to the genealogical manuscripts apprehend the true source and origin of their immediately preceding it, we can also examine lineage’. He then stressed that few kingdoms the physical proximity of the iconography of can claim such an ancient line of descent as that the Tree of Jesse to a visual genealogy adorning of Scotland, which was traced back 330 years the windows of the gallery of the ducal château. before the advent of Christ. The genealogy began, The windows were installed under Jean I, comte as it did in the Scotichronicon, with Japhet, d’Auvergne and de Boulogne (1361–86).67 third son of Noah, leading to Galahel, who was They related to the genealogy of the houses of proclaimed the first king of the Scots (Illus 14).64 d’Auvergne and Boulogne from their origin until Furthermore, in an introductory poem which 1360. Although the château does not survive, a Domat included prefacing his translation of the 16th-century document records the iconography Liber Pluscardensis, he stressed the evidential of the windows. BnF, MS fr 4652, consists of THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 195

Illus 16 Bremond Domat, ‘The arms of Godfrey of Boulogne’, Généalogie de Madame Anne de la Tour, princesse de l’Écosse. KB 74 G 11, f 42v. 1518 (© Koninklijke Bibliotheek, Den Haag) an inventory of titles and charters of the house is stressed by the inclusion of the marriage of of Boulogne and includes a list of the coats of Mary, the aforementioned daughter of Malcolm arms once found on the stained glass windows in Canmore.70 the gallery of the château.68 The description was The designer of the windows, who conceived written by Augustin le Prévost for Catherine de the programme in the 1380s, wished to illustrate Medici in 1582. Le Prévost notes that the gallery the ancestral ties of this family.71 It utilises was lit by eight windows, each bearing four the same King Arthur to Ligier line of descent coats of arms. The windows were organised in employed in the genealogies contained in the such a manner as to visually celebrate the ancient Hague Manuscript.72 As the windows predate familial alliances of the house of Boulogne and Albany’s patronage it is interesting to see how d’Auvergne with the house of France, house of he built upon an already established heraldic Bourbon, and other ‘princes of the blood’, as scheme that drew attention to the connections well as with the kingdom of Scotland.69 This between this house and the royal house of 196 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

Scotland. The 1518 poem relating to the château fuelled by a desire to self-fashion himself in the at Vic-le-Comte suggests that the foundation of eyes of the European nobility as a sovereign of the Sainte-Chapelle may have formed part of a an important ancient and independent nation. larger scheme of improvements instigated by Furthermore, he sought to stress the link between Albany to aggrandise his ducal residence.73 The the royal lineage of Scotland with that of the iconographic focus on genealogy of the Sainte- Capetian kings of France: to provide an anchor for Chapelle must, therefore, be seen in relation the new dynasty emerging from his marriage to to the already existing scheme of decoration Anne de la Tour. The Sainte-Chapelle at Vic-le- relating to this subject. The bold inclusion of Comte may be seen as a magnificent embodiment the portraits of Albany and his wife, with their of Albany’s efforts towards cohesion and self- arms situated directly below the Tree of Jesse, promotion. therefore takes on a greater significance: as a bold visual statement of this meeting of blood- lines, highlighting not only their place in a THE THEORETICAL FRAMEWORK: terrestrial genealogy but in a celestial one too. SACRAL KINGSHIP Returning to the Scottish royal genealogy in the Paris Manuscript and the notion of cohesion, Sacral kingship is the religious and political it is important to bear in mind that Albany’s concept by which a ruler is seen as a manifestation position necessitated that he promote Scotland’s or agent of the sacred. This is a particularly potent interests and status in Europe. Although he shared concept in relation to the French monarchy. Boulogne and d’Auvergne descent through his The iconography of the decorative programme mother’s side, in his marriage to Anne de la Tour employed in Albany’s chapel, in line with the he was of significantly lower status in French original Parisian Sainte-Chapelle, stresses this eyes.74 His appointment as regent in Scotland idea.75 To a French audience, the reference to offered an opportunity to advertise his royal sacral kingship would have been unproblematic, credentials and engage in a campaign of self- and its use in relation to a building housing relics promotion. Key to the success of this endeavour inherited from Louis IX was consistent with was the advancement of Scottish prestige. other examples of such buildings. However, the Albany’s patronage of a translation of the deployment of this idea in relation to Albany’s Liber Pluscardensis into French is significant in position as regent of Scotland deserves further this context as the text promoted the idea that consideration. Scotland was among the most ancient kingdoms Albany had been declared regent by hereditary of Europe, having preserved her integrity and right. Parliament noted this in declaring that his independence since pre-Christian times. While appointment was made according to ‘imperiall buttressing the authority of the royal line, the cannoune and oure awin civile lawis, be quhilkis genealogy also demonstrated the ancient and lawis is decernit that the nerrest and lauchfull independent origins of its people. This formed personage of the agnatis side sall have the cure, an emphatic restatement of the historical basis tutory and governance, and in inlikwise sall take for an autonomous Scottish identity. The royal the charge nd pane in governans, alsweill as genealogy, embodied by its reigning monarch, thai have the aventure and respecte of proffitt was an important symbol of an independent to successioune’.76 His blood relationship to the nation, subject to God alone. Albany, as regent monarch was, therefore, all important and he was, during this period, to a degree filled this position. from 1504 onwards, either the heir presumptive Advertising this fact in Europe was likely to or the second in line to the throne of kingdom have been a central concern for Albany during of Scotland. Given that Albany planned and the period he founded the Sainte-Chapelle. founded the Sainte-Chapelle during his tenure It is hypothesised, therefore, that Albany as regent, it is useful to keep this in mind when was concerned with promoting a certain view of we go on to examine the themes explored in the the past for his own ends. His motivations were decoration. THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 197

In 1960, Grodecki propounded the idea of stress on symbols of authority and kingship is the Parisian Sainte-Chapelle as a monumental employed repeatedly in the typological pairings; reliquary built to house the Crown of Thorns the conflation of the Old Testament figure King procured by Louis IX.77 The shrine functioned, he Aï descending from the Cross and wearing a proposed, as the site of spiritual power translated crown of gold with Christ’s descent from the from the Holy Land to France. Building on this Cross wearing the Crown of Thorns explicitly idea of a monumental reliquary, other historians draws attention to this symbol of kingship (Illus have shown that the programme of stained 17), while the Christ figure in the Last Supper is glass formed a visual essay on kingship, with set against a fireplace which evokes a throne.80 particular emphasis on the Capetian claims The Old Testament sovereigns in the window are to sacral kingship.78 In the Sainte-Chapelle resplendent in their royal and military regalia, at Vic-le-Comte, the stained glass windows thus drawing attention to the royal lineage of draw particular attention to examples of Old Christ and to the military aspect of kingship that Testament kingship and to the idea of Christ as was fundamental to Albany’s political ambitions. king, emphasising the role of the paraphernalia This programme of typology, stressing the of royalty and stressing, in visual terms, concepts symbols and behaviours of kingship, is unified such as good government and just rule. by the central depiction of the Tree of Jesse, The first typological pair of scenes employed demonstrating the continuity between the Old at Vic-le-Comte draws attention to the parallels and New Testaments and illustrating Christ’s of Old and New Testament kingship by equating genealogical descent from King David. The two King David’s entry into Jerusalem with Christ’s types of kings are conflated: David, a terrestrial entry into the same city. Here Christ lets himself king of Judea, and Christ, a celestial king of be proclaimed King of Israel by the crowd. The Israel. The viewer is invited to consider kingship episode draws attention to the royalty of Christ in all its forms, to recognise the royalty of Christ, while establishing the pattern for the typological to consider this in relation to the kings of France, programme (Appendix 1). Furthermore, the and to contemplate the founders’ relationship to pairing stresses the prophesy made to David this hierarchy of kingship. that ‘Your house and your kingdom will By viewing the ideas discussed in this endure forever before me; your throne will be section in relation to the manuscripts Albany established forever’.79 In iconographic terms, the commissioned in the years prior to his foundation,

Illus 17 King Aï’s descent from the Cross (left), Christ’s descent from the Cross (right), the fourteenth typological pair from the Old and New Testament windows of the Sainte-Chapelle at Vic-le-Comte (B Coombs, 2009) 198 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017 we can relate the idea of sacral kingship to and put them into subjection, evidence of how this concerned Albany. First by strength of arms and of war, was his concern with demonstrating that his he will take possession of them.85 possession of fragments of the Passion relics This poem makes a bold statement of Albany’s was indicative of his links to the Capetian kings intention to rule, not only Scotland, but England. of France.81 In the Hague Manuscript, attention Regardless of how serious he was in making this a is drawn to his wife’s descent from Godfrey of Boulogne. Godfrey is significant in this context reality, it was how he wished to promote himself due to his prominent role in the Crusades and at the time. Below the poem is written ‘The his appointment as king of Jerusalem. In the prognostication of the nativity of prince John, manuscript, visual stress is given to his bestowal Duke of Albany, as speculated by the planets’. of a royal title: the crest of his arms being This is followed by three verses of eight lines on ornamented by the Crown of Thorns encircling the influence of the planetary deities on the life the Cross, which bears a small royal crown (Illus of Albany. Beginning by noting that Venus, the 16). The comparison made between terrestrial principal planet, promises him papal power, it and celestial kingship is inescapable. then refers to him as ‘double-crowned, two times The chief function of Albany’s foundation, king’, an affirmation of the military ambitions 86 as set out in the papal bull, was to provide a expressed above. In relation to the focus on dignified structure to house fragments of the kingship expressed in his Sainte-Chapelle, Passion relics.82 This structure took on the this statement is enlightening. The poem is an form, loosely following the Parisian precedent, affirmation of Albany’s power and prestige and a of a monumental reliquary. The decorative bold prediction of what his future could hold. The programme highlights the significance of the concept of kingship and the means by which one relics contained within, illuminating their was destined to hold such power was evidently origin, and the means by which they related to an important concern for Albany. the founders. Albany was, by all accounts, a A secondary focus on the virtues of kingship 87 very pious man and took particular pride in his is also implicit in this reading. The iconography collection of sacred relics. Accounts survive, in the Sainte-Chapelle was intended to fulfil a for instance, noting his propensity for swearing didactic role, and as such visually expressed the ‘upon a piece of the Holy Cross and other diverse virtues befitting a sovereign, that is: an ability to relics which be in a tablet of gold, hung around foster peace, conduct just wars and uphold justice. his neck’.83 Fundamental to the programme of The focus on virtue was emphasised in the chapel decoration employed in the chapel was visually by the stone reredos prominently displaying the demonstrating his and his wife’s genealogical four cardinal and three theological virtues. Just descent from Louis IX, who was an embodiment as the figures of Adam and Eve were arranged of sacral kingship.84 in such a manner as to invite their contemplation A second concern for Albany was promoting in relation to the Tree of Jesse, so too were these his position as regent of Scotland and the virtues intended to be read in relation to the opportunities and privileges that this afforded concepts of kingship and genealogy, the appeal him. The Hague Manuscript contains a poem to ancestry being a common tool in the education and prognostication detailing Albany’s political of a prince. By claiming descent from paragons prospects in 1518. The poem, in translation, of virtue, a prince was encouraged to follow their reads: example. Given that the foundation of public The year one thousand, four hundred, eighty and and political morality was ultimately the law of two in July, God, the expression of such concepts was to be The eighth was born on earth, expected in such a foundation. Albany, bonnie child, When Albany commissioned the French who will by sea conquer, translation of the Liber Pluscardensis, in the Scotland also England, Paris Manuscript, he had an imperative to THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 199 promote a biblical origin myth for the Scottish a magnificent hybrid Renaissance show-piece.90 nation. Given his statement of intent in the Hague Furthermore, by expanding the commemorative Manuscript, foreseeing himself as ‘double- services celebrated in the older chapel, Albany crowned, two times king’, he had every impetus ensured that the preservation of his name was to stress Scotland’s antiquity and rights over guaranteed.91 England. In the preface and prologue to the As we have noted, the hearts of Albany and Liber Pluscardensis, Domat noted that he sought Anne de la Tour were preserved, as if relics to praise the victorious and invincible men of themselves, in a niche at the front of the high altar, Scotland, a nation resplendent in all parts of the in a lead box. The niche was covered by a bronze world and feared by all, a nation who was not plaque. Through this practice, a more intimate defeated by the obstacles of persecution, pests, connection was drawn between the founders and tyranny and insults. The royal house of Scotland, the relics housed in the chapel. Furthermore, it he wrote, had its origin 330 years before the acted as a direct reminder to all who used the incarnation of our Lord and had not succumbed chapel of the founders’ royal lineage and their to subjection. This longevity and autonomy place in the iconographic scheme viewed directly was crucial to any ideas Albany harboured behind the altar (Illus 2). The prolific inclusion regarding a claim to sovereignty in England as of visual signifiers relating to the identity of well as Scotland. The aims and ambitions which the founders, sculpted coats of arms and their are set out in Albany’s manuscripts paved the heraldic portraits on the stained glass windows, way for his grand architectural foundation: the all served to advertise their power, prestige, and Sainte-Chapelle. One should, therefore, read munificence. the programme of decoration in relation to his The chapel may, therefore, be understood as concerns and political objectives as expressed in a physical expression of the competing demands these works. of piety and self-interest. It at once represents an earthly treasury of prestige and self- accomplishment, while simultaneously acting as THE THEORETICAL FRAMEWORK: a conduit for spiritual redemption. It performed PRESTIGE AND PERPETUAL MEMORY at once a political, social and salvific function. A key temporal aspect of the foundation was a The functional significance of Albany’s certain amount of one-upmanship.92 In the light foundation was its ability to act both as a of the perceived discrepancy between Albany monumental reliquary and as a funerary and Anne de la Tour’s social standing in France, monument. It was intended to provide a grand Albany’s motivations in this regard become clear. setting for the commemoration of Albany and Traditionally the counts of Auvergne had been Anne de la Tour’s ancestors and a fitting place in interred at the Abbey of Bouchet, which Robert which to honour the dead. The services employed IV had founded at the end of the 12th century. in the chapel eloquently attest to this cult of This was a choice perpetuated by Bertrand VII death and the family.88 Within this programme and his wife, Louise de la Trémoille, even though of commemoration, two of the three masses they had founded a house for a Mendicant order assigned to the salvation of the family were at Vic-le-Comte.93 The decision by Albany and also to provide for the salvation and prosperity Anne de la Tour to abandon the traditional family of the founders.89 That the divine office was necropolis and found a new family mausoleum performed by eight chapter canons or their tells us a great deal about their dynastic ambitions vicars provides proof of the munificence of the and their desire to advertise their importance. founders and their taste for liturgical solemnities. The foundation of the convent of the Albany wished to improve upon his predecessors Cordeliers at Vic-le-Comte by Albany and by providing a larger, brighter and more Anne de la Tour’s grandparents, Bertrand VII magnificent setting for the family chapel. Thus and Louise de la Trémoille, is of interest in he replaced a modest and gloomy building with relation to the Sainte-Chapelle, particularly as 200 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017 it benefited from a number of valuable bequests Albany’s preoccupations. Particularly telling is from the de la Tour family. These gifts included, the inclusion of various coats of arms. The royal from Anne’s mother, Jeanne de Bourbon: a arms of France feature in the centre, those of chasuble, two dalmatics and altar paraments Scotland to the right, with the arms of Pope Leo all in silk, embroidered in silver and gold with X tied to those of Albany to the left. Below this is the arms of Bourbon-Vendome, Auvergne a coat of arms that is no doubt intended to record and Boulogne.94 The same Countess also gave the arms of Albany impaled by those of Anne the convent a triptych painted on wood.95 The de la Tour, however, Albany’s alone have been painting had been commissioned by the Countess executed (Illus 18).100 The decorative features and her first husband, Jean III. After the Count’s of the bull visually express similar concerns death, Jeanne kept the painting at the ducal to Albany’s manuscript patronage. Albany’s château in Vic-le-Comte. She later bequeathed close ties to Pope Leo X, noted in the Hague it to the Cordeliers.96 The painting depicts an Manuscript, are given visual form on the papal Annunciation scene and includes portraits bull, his concern with expressing both French of the donors in prayer before prie-dieux, and Scottish royal descent are clearly illustrated, draped in their coats of arms. The similarity and his pre-eminence with regards to his wife’s in composition to the stained glass portraits of family, certainly in relation to this foundation, is Albany and his wife in the Sainte-Chapelle is hinted at by the complete absence of the de la clear. At the top of the triptych, banners bearing Tour arms on the document. French verses offer prayers to the Virgin. The scroll on the left refers to the salvation of the Count, while the verses on the right request the THE INTERNATIONAL CONTEXT: blessing of children for the Countess.97 Again SCOTLAND, FRANCE AND ITALY the sentiment behind the devotional painting is similar to that in the Sainte-Chapelle portraits. During the period that the Sainte-Chapelle was As the Sainte-Chapelle was designed as the seat planned and constructed, Albany was negotiating of a new dynasty uniting the powerful ancestries a complex political path, juggling various of the royal house of Scotland and the counts of demands from various countries. Principal among Boulogne and d’Auvergne, an important concern these were his position as regent of Scotland, for Albany and Anne de la Tour would have been his responsibilities to the French Court, and the the continuation of that line.98 The Cordeliers at diplomatic importance of his links to the house Vic-le-Comte appears to have acted, therefore, in of Medici in Italy. Each of these ties played their a two-fold capacity in influencing Albany’s later part in shaping his foundation. foundation: both as a monumental act of charity undertaken by a member of his immediate family and also as a repository for grand and magnificent SCOTLAND gifts and bequests that would ensure the perpetual Much of Albany’s career during this period memory of their name. If Albany wished to equal, revolved around his activities as a key player or out-do, the public acts of piety accomplished in negotiations concerning the preservation by his parents-in-law and grandparents, it was of the Franco-Scottish alliance. In 1517, for incumbent upon him to make a grand gesture in instance, Albany, as governor of Scotland, and terms of his religious patronage. Charles, duc d’Alençon, on behalf of France, Returning to the papal bull for the foundation began negotiations for a treaty of friendship of the Sainte-Chapelle, the bull specifically and alliance. This was signed at Rouen on mentions Albany and Anne de la Tour’s important 20 August. The treaty reconfirmed the ‘auld ancestry, and much of Albany’s motivations alliance’, defining in military terms the mutual may be seen in this context.99 The bull itself, responsibilities of each kingdom should either furthermore, is a very elaborate document and be attacked by England, and setting out the its ornamentation also provides evidence of agreement that James V should be betrothed to a THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 201

Illus 18 Details of the coats of arms elaborating the papal bull granted by Pope Leo X to John Stuart, Duke of Albany authorising his foundation of a Sainte-Chapelle at Vic-le-Comte: John Stuart, Duke of Albany’s arms tied to those of Pope Leo X (top, left), the royal arms of Francis I (top, right), the unfinished arms of John Stuart, Duke of Albany and Anne de la Tour (bottom, left), the royal arms of Scotland (bottom, right). J/1130, no. 25, 21 June 1520 (© Paris, Archives Nationale)

French princess.101 Albany’s continued personal Albany’s architectural patronage was not interest in the history and origin of this alliance confined to his work in France and there is and of his royal Scottish descent is illustrated in evidence that he was keen, during his time in the manuscripts he commissioned soon after. By Scotland, to improve the royal residences and looking at Albany’s patronage in relation to his particularly to improve military fortifications.102 trips to Scotland, we can provide greater context Praise for the improvements Albany made at this for his foundation of the Sainte-Chapelle. time was published in the Sommaire de l’origine, 202 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017 description et merveilles d’Escosse (1538) by Scottish king and no doubt to encourage royal Jehan dit Le-Fresne Des-Montiers. The author visitors. Whether Albany was successful in this particularly noted Albany’s work at Dunbar endeavour with regards to James V is unclear. castle, which he rendered impregnable. He also However, it is plausible that the Scottish king makes special mention of the improvements may have visited the Sainte-Chapelle during his Albany made to agriculture in the country.103 A tour of France in 1536–7, where we know that reflection of Albany’s status in Scotland at this he travelled as far as Moulins to see Francis I.109 time and of his perceived place within a hierarchy Given that James V was in the vicinity of Vic- of European nobility may be seen in the inclusion le-Comte, it is tempting to suppose that he may of his arms on St Machar’s Cathedral ceiling of have visited Albany’s magnificent foundation 1520: his arms appear behind James V’s and St at this time and paid his respects to the recently Margaret of Scotland’s, and in the illustrious deceased Duke. company of the greatest European leaders of the time.104 The prominent inclusion of his arms FRANCE attests both to his relationship to Gavin Dunbar and to the status and prestige he was accorded in In a French context, the foundation of a Sainte- Scotland.105 Chapelle was a potent means of advertising one’s During Albany’s final visit to Scotland, prestige among the ranks of the French nobility. from September 1523 to May 1524, he appears It allied Albany to such illustrious French to have been concerned with commissioning patrons as Jean, duc de Berry, for instance, who visual material which might be used to advertise founded Saintes-Chapelles at Riom and Bourges his status. It was in 1524 that he commissioned in 1395 and 1405 respectively, and to Louis 1er a series of small gold medals bearing the de Montpensier, who founded a Sainte-Chapelle inscription, ‘ioannis.albannie.dvc.gvbern’, a at Aigueperse in 1475.110 Indeed, the spectre of proud statement of his position as governor of Jean, duc de Berry may well have loomed large Scotland.106 The medals advertise his arms, his over Albany, as a former comte d’Auvergne et membership of the Order of St Michel through de Boulogne, and thus a formidable figure in the the inclusion of the collar, his union with the de de la Tour family tree.111 The physical structure la Tour family through their impaled arms, and of Albany’s Sainte-Chapelle strongly resembles his religious credentials through the inclusion the foundations at Bourges and Riom and it may of the Holy Dove and his motto ‘svb vmbra be suggested that they held a special significance tvarvm’. It should be noted that even after this as sources of inspiration for Albany. In the poem date, Albany’s correspondence reveals that in of 1518, which accompanied the depiction of the France he continued to be considered ‘la qualité château at Vic-le-Comte, the author noted that it de Regent et Gouverneur de royaume d’Escosse’, had been a long time since people thought highly and Albany’s use of these medals as diplomatic of the château: ‘Il y a longtemps certainement, tokens supports the idea that he continued to Qu’on a tenu de moy grand compte.’ One employ this title.107 wonders if high in Albany’s mind at this time That Albany sought to advertise his was the desire to self-fashion himself with equal foundation of the Sainte-Chapelle at Vic-le- magnificence as such illustrious patrons of the Comte to James V of Scotland may be seen in past as Jean, duc de Berry.112 the reference to a relic of the ‘True Cross’ sent From the outset of Albany’s marriage to by Albany, recorded in an inventory of the Royal Anne de la Tour, concerns were raised regarding Scottish households of 1542.108 This follows the equality of the match. On 5 December 1512, the precedent set by Louis IX in advertising his Louis XII sent a request to James IV of Scotland foundation of the Parisian Sainte-Chapelle by to restore his father’s dukedom to Albany, the gifting small fragments of his relics to important intention being to place him on an equal footing dignitaries. It is evidence of Albany’s wish with his wife.113 The request appears to have been to bring his foundation to the attention of the unsuccessful but demonstrates the perceived THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 203 imbalance between the wealthy heiress, Anne servant of the French Crown, involved in the de la Tour, and Albany. This was, of course, most important French diplomatic and military redressed to a degree by Albany’s appointment as activity of the time. regent in Scotland, and yet throughout the project Albany was, furthermore, evidently of the foundation of the Sainte-Chapelle the successful in strengthening ties with the French theme reoccurs of Albany’s need to assert himself king and elevating his status. This is apparent in and his status, in relation to that of his wife. The the important diplomatic and military activities foundation was conceived as providing a focal he undertook and in his success in securing the point for a new dynasty uniting the powerful first French royal visit to the Auvergne in 160 ancestries of the royal house of Scotland and the years.116 In July 1533, Francis I was received by counts of Boulogne and d’Auvergne. entry ceremonies into a number of towns in the The diplomatic significance of using area: the festivities were all overseen by Albany. genealogies to further one’s prestige is All these preparations did not come cheap and demonstrated in Albany’s manuscript patronage. Albany appears to have been reimbursed by the The Paris and Hague Manuscripts have crown the sum of 14,000 écus d’or soleil for his already been discussed, yet there survives a expenses.117 We have no direct account of the significant corpus of genealogical material likely French king visiting the Sainte-Chapelle during commissioned by Albany and Anne de la Tour his tour of the Auvergne, however it would have as gifts to nobles and dignitaries. This material been astonishing, given that the King lodged for a demonstrates how genealogical texts were drawn time in the neighbouring town of Mirefleurs, if he upon in the service of diplomatic and political had not have visited Albany’s prized foundation. endeavours. Most notable among these are two copies of the Hague Manuscript commissioned ITALY and tailored to be presented to François de la Guesle, seigneur de Busséol (BnF fr 20209), and As Catherine de Medici’s closest male relative, to Pope Clement VII (BnF fr 5227). Each served Albany’s standing in Rome, first under Leo X to strengthen ties and encourage loyalty. Later and then under another Medici pope, Clement during the negotiations surrounding the betrothal VII, was greatly enhanced. He used this to of Catherine de Medici, on whose behalf Albany promote various interests. On 5 March 1519, was employed, again a series of genealogical Pope Leo X granted a papal bull confirming the manuscripts were produced in order to promote ancient privileges of the kings and kingdom of the Boulogne and d’Auvergne lineage. In 1531, Scotland, noting that he acted on the supplication for example, three copies of a text attributed of Albany, his dilecti filli, ‘beloved nephew’.118 to Geoffrey Tory were used in relation to the It was on this same trip that Albany secured marriage negotiations.114 the papal bull authorising his foundation. His As already noted, a key aspect of the newly gained papal connections thus proved an foundation of a Sainte-Chapelle was its ability to invaluable tool for Albany, enhancing his status advertise the proximity of the founder to the kings both in Scotland and in France, and providing of France and it should be stressed that, although him with the necessary connections to fulfil such playing an important role in Scottish history at ambitions as founding a Sainte-Chapelle. this time, Albany remained an important figure As tutor to Catherine de Medici, Albany in the French political sphere. Evidence of the had frequent contact with the Medici family.119 important role he played in French military and He spent, furthermore, a reasonably prolonged diplomatic activity in the 1520s might be inferred period in Italy in the mid-1520s. Albany from the fact that he was offered as a hostage in appeared in the vanguard of Francis I’s army that the diplomatic discussions intended to secure the left France for Milan in autumn 1524. Around release of the French king in 1526.115 Throughout 25 November he was ordered by the French the period of Albany’s return to France in king to proceed with 4,000 foot soldiers and 1524 and his death in 1536 he was a prominent 500 lances and commence an attack on Naples. 204 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

He was accompanied by Giovanni de Medici Younger benefited from Medici patronage, which as commander of the light cavalry. Albany may explain Albany’s interest and appreciation prepared for this expedition by corresponding of their work.124 with the governors of Parma, Piacenza and In relation to the other French Saintes- Bologna requesting safe conduct and permission Chapelles, there was a precedent for including to purchase supplies.120 Albany was, however, Italian art in the programme of decoration. recalled by the French king, before subsequently Mantegna’s St Sebastian, now in the Louvre, being dispatched a second time to Naples, this was once displayed in the Sainte-Chapelle of time with 300 light horsemen, 600 men at arms, Aigueperse, as was the Nativity by Ghirlandaio, 7,000 foot soldiers and a dozen pieces of artillery. still in Aigueperse today. The two paintings’ He thus proceeded through Lucca, but appears presence there is no doubt related to the to have made slow progress thereafter, perhaps marriage of Chiara Gonzaga, daughter of fearing that he would once again be recalled. By Federico I of Mantua, to Gilbert de Bourbon, the end of January 1525 Albany had only reached Dauphin d’Auvergne (1481). The inclusion of Siena. Albany entered Rome on 13 February and contemporary Italian aesthetics was certainly was lodged with honour as the Pope’s kinsman.121 very popular in France by the early 16th century Here Albany no doubt took the opportunity to and Albany was displaying his taste, contacts, and visit his niece, Catherine. Given that Anne de la magnificence in commissioning an Italian artist Tour had died a year earlier and that they had to create the apostle figures for his foundation.125 no children, Catherine was Albany’s closest As to whether Albany enticed members of surviving family. Furthermore, Albany’s own the Medici family to Vic-le-Comte before his plans of seeing Catherine betrothed to James V lands and properties formed the inheritance of would have ensured the continuation of the union Catherine de Medici, again it is not clear. Lorenzo between the illustrious lineages of Stuart and de Medici, Duke of Urbino, was at Amboise in de la Tour. Having then travelled to Formello, January 1518 for his wedding to Madeleine de la on 24 February, Albany was informed of the Tour. By July he had travelled to the château St devastating news that Francis had been captured Saturnin in the Auvergne, where he and Albany at Pavia. He thus retreated to papal territory and signed an agreement detailing the split of de la left Italy for France at the end of March. Tour properties, yet this was before work had Albany’s activities in Italy during the mid- begun on the chapel.126 Later in 1533, a merchant, 1520s provided him with an important opportunity Etienne Medici, was present in Puy and provided a to become acquainted with contemporary Italian detailed account of the entry celebrations that took aesthetics at first hand. It was, perhaps, during place there, eight days after the events at Clermont this time that Albany first became acquainted and Montferrand. However, his connections to the with the work of Rustici or witnessed the main Medici family are unclear, and although he sculpted apostle figures commissioned for the mentions the surrounding area, his account does cathedral of Santa Maria del Fiore in Florence. not include Vic-le-Comte.127 Certainly, something of his visual experience in Italy appears to have influenced his later commission of the 12 terracotta apostles from CONCLUSION an Italian artist in Paris.122 Other evidence that Albany was acquainted with artistic personalities At the time that Albany was planning the during his time in Italy may be seen on a note foundation of the Sainte-Chapelle at Vic-le- added to a sketch of a fortification attributed to Comte, his position as governor of Scotland must Antonio da Sangallo the Younger.123 Under the have been at the forefront of his thoughts. The sketch it is noted that it was undertaken following foundation and its decorative programme stress the ‘opinion’ of the Duke of Albany. Albany above all lineage, kingship, and the joining of was, therefore, moving in cultural circles during two illustrious blood-lines. The foundation gives his time in Italy. Both Rustici and Sangallo the visual form to Albany’s concerns regarding his THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 205 status in France, advertising his illustrious royal Albany fostered, furthermore, a genuine interest lineage, and demonstrating his magnificence in the art and science emerging in Italy at this and political power. As work progressed on time is beyond doubt, and his importance as his foundation the situation began to change: a conduit for emerging ideas has hitherto been his wife died in 1524, and his regular contacts undervalued. Albany’s poor performance in with his Medici kinsmen in Italy appear to have military situations certainly tainted his later influenced his tastes and aspirations. Albany was reputation, yet he was an astute diplomat and a fascinating example of pan-European nobility excelled in crafting his self-image. The Sainte- whose agency spanned multiple countries. He Chapelle at Vic-le-Comte is a tour-de-force in attempted to juggle the competing demands self-fashioning and provides an insight into his made of him by Scotland, France, and Italy but priorities during a significant period of his career. also manipulated his position to his advantage By examining the Sainte-Chapelle in when he could. relation to the two genealogical manuscripts By founding a Sainte-Chapelle, Albany made commissioned immediately before its foundation, a grand physical statement of his pre-eminence it can be demonstrated that the building provides in France. He utilised the de la Tour genealogy physical expression of the intellectual efforts to great effect; commissioning finely illuminated undertaken by their author and translator, Domat. versions of the history of this family, both for The claim in the Paris Manuscript’s genealogy, his own use, and for political and diplomatic that it was written to clarify and resolve the true purposes. The foundation of the chapel enabled source and origin of Albany’s Scottish lineage, him to demonstrate his prestige in relation to is important. Albany required this lineage in this long-established line of the French nobility. order to bolster his constitutional theory: the In building upon an existing scheme of heraldic long and unbroken line of descent being a key decoration, he highlighted in visual terms that argument employed to ward off English claims he and his wife were the culmination of this line to suzerainty. In the turbulent post-Flodden times and the confluence of the counts of Boulogne and during Albany’s regency, highlighting Scotland’s d’Auvergne with the royal house of Scotland. heroic past and the patriotic deeds that had won The idea that Albany held a hereditary right to and secured national independence was crucial. the title of regent in Scotland was paramount. The leitmotif of noble and virtuous lineage, Albany possessed royal Stuart blood and thus therefore, resonates in multiple ways. It has been could claim the same virtues that were seen as suggested that the complex typology employed all important in a reigning monarch. The ideas of in the stained glass windows was likely overseen illustrious lineage, of sacral kingship, and of the by a clerical advisor, perhaps Pierre Talve, the perpetual memory of this union were all central first dean of the Sainte-Chapelle.128 Yet, it in the planning and execution of the chapel. should not be discounted that Domat also may The chapel as a Gesamtkunstwerk contains have had some input into the overall scheme of a heterogeneity of parts added throughout the decoration, especially given that we know he 1520s, and yet the overall programme, despite acted as arbiter elegantiarum for the pageants the variations in its aesthetic, follows a relatively enacted for Francis I entry ceremonies to clear theoretical framework. The stained glass Clermont and Montferrand in 1533. windows, commissioned perhaps from a Bourges The heterogeneity of the chapel aesthetics atelier c 1520–4, were intended to be read in reflects Albany’s own heterogeneity: it isa relation to the stone reredos commissioned from product of his unique position in Europe, and an entirely different atelier. The later addition yet the theoretic concepts underpinning the of the terracotta apostles – evidently added in programme of decoration are specific and 1529 – were no doubt always intended to form harmonious. It is the product of a patron acutely part of the chapel interior, even if their execution aware of his image and of his legacy: ensuring by a Florentine artist was a later development the perpetual memory of himself and his wife following Albany’s expedition to Italy. That was paramount. From a Scottish perspective, 206 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017 the building survives as physical evidence of 4 For the life and career of John Stuart, Duke a connection between Scottish kingship and of Albany see Stuart 1940; Bentley-Cranch & one of the most important French buildings Marshall 2003; Bonner 2004; Coombs 2013; in history: the Sainte-Chapelle. That the final Coombs 2014; Blakeway 2015. Sainte-Chapelle to be founded in France was 5 Fleming & Miller 1908: 281. an enterprise commissioned by a Stuart, during 6 Regents who were heirs presumptive to an infant his tenure as regent of Scotland, must surely be monarch, such as Albany, were often afforded the title governor rather than regent. This was an area of research worthy of greater scholarly frequently rendered ‘gubernator’ as we find on attention. Albany’s medal of 1524. I have used the title regent in this paper for clarity. McNeill 1967: ACKNOWLEDGEMENTS 129; Blakeway 2015: 22. 7 Albany’s three visits to Scotland were: 1st: May I would like to thank the anonymous reviewers of this 1515–June 1517; 2nd: Nov 1521–Oct 1522; 3rd: paper for their insightful comments and suggestions. Sept 1523–May 1524. Albany was welcomed to I would like to thank the staff of the Bibliothèque Scotland with the composition of a ballad that Sainte-Geneviève, the Bibliothèque nationale, and the survives (translated into French) in Paris, BnF, Archives nationale, Paris. I would also like to thank MS fr 20055, f 73v. Here he is described as the staff at the Koninklijke Bibliotheek, in the Hague. imperial and repeatedly welcomed as a wise and I am, furthermore, grateful to Dana Facaros and good governor. Michael Pauls for the use of their car for my research 8 The focus of this paper is primarily an analysis in the Auvergne. Lastly I would also like to thank Dr of the foundation in relation to Albany and Tom Tolley, Penny and Carey Coombs, and Jackson his European standing, particularly in relation Pauls. to his position in Scotland. This is not to diminish the importance and agency of his wife, Anne de la Tour, who is considered in NOTES some depth in the French literature relating to this foundation. That Albany’s political and 1 For the Parisian Sainte-Chapelle see among social objectives have not previously been others: Grodecki 1979; Billot 1998; Jordan investigated in this context appeared, to the 2002; Erlande-Brandenburg 2012; Cohen 2015. author, to be a scholarly oversight that this 2 There is frequent confusion between the terms paper aims to correct. chapelle royale, chapelle princières and Sainte- 9 ‘Sane pro parte dilecti filii nobilis viri Johannis Chapelle. Those most securely titled Sainte- Stuard Albanie Ducis, Marchie Bolonie et Chapelle are: Paris, 1248, founded by Louis Alvernie Comitis et dilecte in Christo filie IX of France; Bourbon-l’Archambault, c 1315, nobilis mulieris Anne de Bolonia, Ducisse et Duke Louis I de Bourbon (ruined); château Comitisse ejus conthoralis nuper nobis exhibita royal du Vivier, 1352, Charles V (ruined); petitio continebat quod licet oppidum de Vico château de Vincennes, 1379, Charles V; Riom, vulgariter nuncupatum satis insigne inter alia 1395, Jean de Berry; Bourges, 1405, Jean de oppida dicti Comitatus Alvernie Claromontensis Berry (destroyed); Châteaudun, 1451, Jean diocesis existat, nulla tamen collegiata ecclesia de Dunois; Aigueperse, 1475, the Bourbon- inibi esse dinoscitur et propterea prefati Dux et Montpensier family; Bourbon-l’Archambault, Ducissa cupiant in quadam capella sub vocabulo 1483, Jean II de Bourbon (a second chapel sancti Johannis Baptiste intra eorum palatium again ruined); château de Champigny-sur- seu fortalicium ejusdem oppidi consistente in Veude, 1499, Louis I de Bourbon; Vic-le- qua una ex Spinis Corone Domini …’ Paris Comte, c 1520, John Stuart, Duke of Albany A.N. J/1130, no. 25. The bull is transcribed in and Anne de la Tour. See Billot 1987; Billot Noblet 2009: 234–9. 1998; Wessel 2003; Noblet 2009. For the 10 ‘supplicatum ut in eadem capella unam exclusion of Gué-de-Maulny, 1329, as a Sainte- insignem collegiatam ecclesiam sub invocatione Chapelle see Wessel 2003: 225. gloriose Corone Spinee Domini Nostri Jhesu 3 Wessel 2003: 9. Christi et beatissimi Johannis Baptiste …’ Paris THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 207

A.N. J/1130, no. 25. Noblet 2009: 78. The term 16 Paris A.N. J/1130, no. 25, lines 7–9. Fouilhoux ‘Capella Sancta’ does not appear in the papal 1898: 247. The seal bore an image of John the bull. It does, however, appear in a previously Baptist with the lamb of God. Wessel 2003: 217. unrecognised document relating to the chapel’s 17 Baluze 1708, II: 688; Noblet 2009: 36, no. 28. foundation, dating to 1530. This document is 18 Est engrave en une plaque de-fonte au milieu pasted into the back of a Sacramentaire de Senlis du maistre autel du ceste eglise comme sensuit, dating to the 12th century (Paris, Bibliothèque MS Baluze 208, f 230v; Baluze 1708, I: 357; Sainte-Geneviève, MS 126). The two folios Fouilhoux 1898: 285. In a niche at the front of at the end of the manuscript are composed of the main altar at the Sainte-Chapelle there was a a fragmentary document detailing acts relative lead box in which were the embalmed hearts of to the foundation of the Sainte-Chapelle at Vic- Albany and his wife. There was a brass plaque le-Comte. The document provides valuable, and bearing the obits of the founders. hitherto unexplored, information regarding the 19 On her death in 1524, Anne de la Tour’s foundation. properties were left directly to Catherine. 11 This second bull of Leo X (1 December 1521), Baluze 1708, II: 689. following that granting erection of the Sainte- 20 The dimensions and plans of the Saintes- Chapelle (21 June 1520), is known only as it is Chapelles differ widely. At 18m in length the referred to in a bull of Clement VII confirming chapel at Vic-le-Comte was one of the smallest. the privileges granted by his predecessor. Paris Noblet 2009: 112. A.N. J/1141, no. 7. 21 A hierarchy was thus established between 12 ‘le pape accordait au sanctuaire le privilège des Albany and his family symbolically dominating Stations Romaines, aux fêtes de la Résurrection the level below. The monastery of Brou et de la Nativité de Nostre-Seigneur, de possessed, in a similar manner to the chapel at l’Assomption de la Sainte-Vierge, de la Vic-le-Comte, direct access from the apartments Toussaint, de la Nativité Sainte-Jean-Baptiste, of the founder, Margaret of Austria, to the first de l’Invention et de l’Exaltation de la Sainte floor of the chapel. Noblet 2009: 119. Today Croix, tous les jours depuis le dimanche de la you access the building through a door on the Passion jusqu’à Pâques, et tous les autres jours west side of the current extended building. où les Stations se célèbrent à Rome. Tous les 22 The positioning of the unicorn beside the Holy fidèles, contrits et confessés, qui visiteraient la Dove emerging from an aureola makes this Sainte-Chapelle aux jours précités, pourvaient especially likely. The dove is comparable to gagner les mêmes indulgences que s’ils avaient those depicted on Albany’s manuscripts and visité les églises de Rome désignées pour les engraved on the medal he commissioned in stations.’ Fouilhoux 1898: 250–1. 1524. Albany used the dove in relation to his 13 In this second bull, Leo X mentions the old motto ‘sub umbra alarum tuarum’. The frieze is chapel of Saint John the Baptist, denouncing mentioned in Toynbee 1948: 151. the exiguity incompatible with the canonical 23 Noblet 2005: 488–503. service. The chapel referred to is one mentioned 24 All that remains of the château is a section of in 1371, when Count John I established a rule wall, a gateway, and several windows facing that ‘que le service divin [soit] ordinairement onto rue de la Porte Robin. ert solennellement faict et celebre en nostre 25 Généalogie de Madame Anne de la Tour, chapelle du Palais de Vic le Comte’, Baluze princesse de l’Écosse. KB 74 G 11, f 55v. 1708, II: 201. The erection of the chapel into 1518, Koninklijke Bibliotheek, Den Haag. For a collegiate foundation was accompanied by a discussion of this manuscript in relation to the project of rebuilding the chapel. This Albany see Coombs 2014. There is an earlier was aided by the obtaining of indulgences to manuscript that includes topographical portraits provide financial assistance. Noblet 2009: 154, of a number of châteaux in this area: The Revel no. 62. Armorial c 1456 (Paris, BnF MS fr 22297). The 14 Obits des anciens comtes d’Auvergne. BnF MS image of the château at Vic-le-Comte, which Baluze 208, f 229r–230r; Baluze 1708, II: 201; was intended to appear on f 80v, has, however, transcribed by Fouilhoux 1898: 242–5. not been executed. See Fournier 1973; Bernage, 15 Fouilhoux 1898: 243; Noblet 2009: 73. Courtillé & Mégemont 2002. 208 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

26 Dulaure and Bielawski suggest that Albany 37 In this image I disagree with Luneau’s inter- reconstructed the château ‘with more pretation of the scene. The text on the ground magnificence’. Dulaure 1789: 406; Bielawski indicates the king figure is Nebuchadnezzar. 1888: 320–1. The shield of the figures to the right identify 27 This manuscript was executed in 1518 following the figures as Hananiah, Mishael, and Azariah the marriage of Albany’s sister-in-law, (Hebrew Babylonians). The scene thus shows Madeleine de la Tour, to Lorenzo de Medici. Nebuchadnezzar handing a sword to Arioch As a result of this marriage, Albany benefited to slay the wise Babylonians. Daniel is from close ties to the papacy thus enabling him shown interpreting the dream to Arioch and to obtain papal approval for his foundation. See Nebuchadnezzar. The key part of the text is: Coombs 2014. ‘Praise be to the name of God for ever and ever, 28 Revenus du comté d’Auvergne, avec les revenus wisdom and power are his. He changes times and particuliers et les portraits des châteaux. Paris, seasons; he deposes kings and raises up others. BnF Ars MS 4264 f 2r. MS 4264 dates to 1552 He gives wisdom to the wise and knowledge to and contains the arms of Marie de Medici. It the discerning.’ Daniel 2:20–1 (NIV). contains copies of the château portraits found 38 For light and the Parisian Sainte-Chapelle see in the Hague Manuscript. Some differences most recently Cohen 2015. show the deterioration or changes made to the 39 See note 21. properties between 1518 and 1552. A 16th- 40 In 1792 the municipality received an order to century manuscript sold at Sotheby’s on 3 destroy all the coats of arms displayed in the May 2012 also includes copies of the château Sainte-Chapelle. Fouilhoux 1898: 276. portraits. This manuscript contains the arms of 41 Also in the southern auxiliary chapel are Catherine de Medici and was apparently bound vestiges of the older chapel in the form of for presentation to Margaret de Valois. See decorative glass dating to c 1400. Gatouillat & Sotheby’s Sale Catalogue 2012. Hérold 2011: 33. 29 Aymon Gilbert Mallay (1805–83) was a French 42 Beautifully carved figures of Faith, Hope and architect, specialising in the restoration of Charity are found on the top register with historic monuments in the Auvergne. Justice, Prudence and Temperance below. 30 Gatouillat & Hérold 2011: 182. Courage is missing. 31 As Émile Mâle explained: ‘that which the 43 Legrand d’Aussy was scandalised by the nudity Gospel shows men in the light of sun, the Old displayed, describing it as ‘très indécente’ Testament showed them in the uncertain light and ‘vraiment scandaleux’. Legrand d’Aussy of the moon and stars’, basing his ideas on an 1787–8: 246–7. Dulaure describes the figures as Augustinian metaphor. Mâle 1972: 133. being Adam and Eve and the Virgin. Dulaure 32 Luneau 1995: 24; Luneau 1996b: 4; Gatouillat 1789: 407. Bielawski notes that these figures & Hérold 2011: 180. were replaced by angels and the Virgin in 33 Luneau 1995: 24; Luneau 1996a: 55–65; 1830. Bielawski 1888: 325. Deshoulières notes Gatouillat & Hérold 2011: 180. that Adam and Eve and God the Father were 34 Luneau 1995: 17–26. replaced in 1834. Deshoulières 1925: 108–9. 35 Perhaps it was Pierre Talve, the first dean of the 44 Leproux suggests a Bourbonnais atelier could chapter of the Sainte-Chapelle. Fouilhoux 1898: be responsible. Leproux 2004: 75. Jean de 300. Chartres (c 1465–c 1513) was a French sculptor 36 Jean Lécuyer was active from c 1520 until his and important pupil of Michel Colombe. He was death in 1556. In particular, the work at Vic- active in Moulins and the personal sculptor of le-Comte is comparable to that in the chapel Anne de France. founded by Pierre Coppin, at the Cathedral of 45 The tomb of Francis II, Duke of Brittany, is a Saint-Étienne, Bourges, bay no. 46. Gatouillat monument located in Nantes, in the Cathedral & Hérold 2011: 51–2. There are, furthermore, of St Peter. The project was commissioned similarities in the style of the Vic-le-Comte by Anne of Brittany, Queen of France. It was windows to those depicting the legend of St executed in Carrara marble in the early 16th Barbara, at Moulins Cathedral, dating to 1510– century by Michel Colombe and is considered a 20. masterpiece of French sculpture. THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 209

46 Five coats of arms surmount the lower register 53 Bertrand VI de la Tour d’Auvergne (1417–26 of figures: alternately Albany and the arms of September 1497) was both Albany and Anne de Albany impaled by those of Anne de la Tour. la Tour’s grandfather (they were first cousins). This identification of the arms further confirms For an engraving of the reliquary see Baluze that the reredos was not the work of Florentine 1708, I: 331. sculptors employed by Catherine de Medici. 54 The chasubles were finely embroidered with 47 Leproux attributes the sculptures to Rustici. the arms of Boulogne and d’Auvergne and with Leproux 2004. This is repeated by Noblet 2009: scenes from the infancy of Christ. They are 280. Doubt has been cast on this attribution by now lost, however detailed engravings may be Sénéchal. Sénéchal 2007: 245–8. However, found in Baluze 1708, I: 332. They are noted he concedes that they were likely executed in Deshoulières 1925: 107 and described in in Paris by a workshop run by an Italian. An Fouilhoux 1898: 280–2. attribution to Rustici, he notes, is feasible if we 55 These represent Stations 5, 10, 12 and 14 of the factor in rapid execution and the participation 14 Stations of the Cross. of assistants. It seems likely, given the great 56 This may be due to the provincial style of the expense incurred in transporting the sculptures, painting which has only recently been cleaned. that Albany would have commissioned them It receives a passing mention in Deshoulières from an eminent artist like Rustici, even if they 1925: 108, who dates it to the 17th century. A were hurried and aided by assistants in their small notice in the chapel itself dates it to the final execution. The sculptures have undergone 15th century. extensive restoration over the years. This is 57 Bielawski noted that a beautifully carved oak detailed by Leproux 2004: 75–91. screen stretched across the chapel and that this 48 Archives Nationales, Minutier Centrale, was sold. There is the possibility, therefore, CXXII, 15; 1529, 23 August. This document is that the painted panels originally belonged to a transcribed in Leproux 2004: 80. larger scheme of decoration, perhaps arranged 49 See the Saintes-Chapelles at Champigny and in the manner of a rood screen. Bielawski 1888: Bourges. Noblet 2009: 48. 228; Noblet 2009: 125. 50 This was apparently destroyed c 1792, see 58 The parish priest, trying to raise money to install note 40. To the right of the altar is an ornately a heating system in the church, had sold various carved stone sacrament house. It is now largely bric-a-brac and old furniture from a church defaced. The carving is closely comparable to storeroom. A second-hand dealer purchased that surrounding the door to the sacristy c 1520– the contents of the room and in examining 4. There may have been a coat of arms adorning them noticed an ornate 18th-century frame. the lintel of the sacrament house but the damage The painting, obscured by white wash, was is such that this is not certain. then uncovered. The painting was originally 51 Attention is drawn to the relics in the papal bull attributed to Flemish-born Jean Malouel c 1400. granting authorisation for the foundation: ‘una Malouel was the official painter of Philip the ex Spinis Corone Domini nostri Jhesu Christi Bold and principally known for his work at the et multe alie venerabiles relliquie gloriose Chartreuse of Champmol. Thiébaut 2012. The Virginis Marie et nonullorum apostolorum, Louvre, Paris, has more recently revised this necnon de ligno sanctissime Crucis quedam attribution suggesting that it may be the work of pars, que a majoribus predecessoribus dictorum the famous Limbourg brothers from Nijmegen. Ducis et Ducisse a partibus ultramarini The arguments supporting this reattribution transportate fuerunt’, A.N. J/1130, no. 25. On have not yet been published. 20 September 1790 a record was made of the 59 Albany’s French translation of the Liber furniture of the Sainte-Chapelle noting ‘un Pluscardensis, with a genealogy of the kings of reliquaire en vermeil contenant une Épine de la Scotland appended, is held at the Bibliothèque Couronne de Notre Seigneur’, Noblet 2009: 39, Sainte-Geneviève, Paris, MS 936. For this note 53. MS see Coombs 2014. The Sacramentaire de 52 ‘et multe alie venerabiles relliquie gloriose Senlis, with a fragmentary register dating to Virginis Marie et nonullorum apostolorum’, 1530 pasted into the back, is at the Bibliothèque A.N. J/1130, no. 25. Sainte-Geneviève, Paris, MS 126. 210 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

60 Hannay 1954: 68–9. During Albany’s visit château windows (although it is a more detailed to Rome in 1520 he not only secured a papal genealogy). bull confirming his position as governor, but 71 Beaune & Lequain 2005: 398–9; Gatouillat & also gained permission to construct the Sainte- Hérold 2011: 186. Chapelle at Vic-le-Comte. Edinburgh, National 72 Beaune & Lequain 2005: 398–9; Coombs 2014: Archives of Scotland, CH7/46; Paris, Archives 290. Nationales, J/1130, no. 25. 73 See note 26. 61 Bibliothèque Sainte-Geneviève, Paris, 74 On 5 December 1512 Louis XII dispatched Chronique d’Écosse & généalogie des a request to James IV that Alexander Stuart’s rois d’Écosse. MS 936 (Paris Manuscript); confiscated estates be restored upon Albany, Koninklijke Bibliotheek, The Hague, thus enabling the French king to make a Généalogie de Madame Anne de la Tour, marriage settlement befitting the rich dowry of princesse de l’Écosse. KB, 74 G 11 (Hague Anne de la Tour. Wood: 62–5. Manuscript). For these two manuscripts see 75 Cohen 2015: 113–46. Coombs 2014. 76 Brown et al 2007–17: A1516/7/1. Also quoted 62 Luneau 1995; Luneau 1996a; Luneau 1996b; by Blakeway 2015: 20. Noblet 2009: 188–9; Gatouillat & Hérold 2011: 77 Grodecki 1979. 180. 78 Jordan 2002. 63 The inventive integration of the coats of arms 79 2 Samuel 7:16 (NIV). of the founders did not escape the attention of 80 Luneau 1995: 22–3. The pairing of red and Dulaure visiting in 1789. Dulaure 1789: 408. gold for both the crowns of the Old Testament 64 Bibliothèque Sainte-Geneviève, Paris, MS 936, emperors, such as Nebuchadnezzar in the tenth f 256r. Bremond Domat 1519. Throughout the pair with the same colours used on Christ’s genealogical tree the concepts of clarity and nimbus, makes this particularly clear. Although truth are stressed repeatedly. the RSV bible describes King Aï as descending 65 ‘Les armes de la fille du Roy descoce qui fut from a tree, the Vulgate states that he descended comtesse de boloigne’, The Hague, KB, 74 G from a cross (Joshua 8:29). 11, f 40v. The marriage of his father, Alexander 81 The status of the chapel at Vic-le-Comte Stuart, to another Anne de la Tour also provides as a Sainte-Chapelle rested on the presence a precedent for the union of the royal house of the relics it contained. These formed the of Scotland and the counts of Boulogne and inheritance of Anne de la Tour. The Tree of d’Auvergne. Jesse iconography suggests a parallel between 66 Godfrey of Bouillon (18 September 1060 – 18 Christ’s genealogy and the donor, drawing July 1100) was a Frankish knight and one of upon an established parallel between Christ as the leaders of the First Crusade from 1096 until king and the Capetian monarchy. The stained its conclusion in 1099. After the successful glass thus served to remind the viewer of the siege of Jerusalem in 1099, Godfrey became prestigious pedigree of the founders, both of the first ruler of the kingdom of Jerusalem. whom could claim this descent (being first He refused the title of king as he believed cousins). However, it also allowed Albany to that the true king of Jerusalem was Christ, stress his royal Scottish lineage. preferring the title of Advocate of the Holy 82 As emphasised in the dedication of the Sainte- Sepulchre. Chapelle to the ‘gloriose Corone Spinee Domini 67 Gatouillat & Hérold 2011: 33. Nostri Jhesu Christi’, Paris A.N. J/1130, no. 25. 68 Inventaire des titres et chartes de la maison 83 Brewer 1920 II, no. 2610. Clarencieux to de Boulogne, avec les armoires trouvées au Wolsey: ‘These words said, he took my hand chasteau de Vic. MS fr 4652, f 30–45. The betwixt his two hands, and sware to me by the document includes painted copies of the faith he oweth unto God … that he forsaketh his armorials and escutcheons. part of paradise, and giveth him, body and soul, 69 BnF MS fr 4652, f 5r. to all the devils of hell; and further sware in like 70 BnF MS fr 4652, f 37r. The Hague Manuscript manner, upon a piece of the Holy Cross, and on follows the lineage that was illustrated on the divers other relies, which be in a tablet of gold THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 211

hanging about his neck, beseeching God if he interred at Bouchet, his wife Jeanne de Bourbon minded not as he said, that all his life an evil was interred at this foundation. Fouilhoux chance and evil fortune might fall upon him.’ 1898: 223–4. There survives in the Louvre an 84 Louis IX was a devout Christian and the extraordinary cadaver tomb commissioned by perception of him as the exemplary Christian Jeanne de Bourbon (d 1511) that was originally prince was reinforced by his religious zeal. at the Cordeliers at Vic-le-Comte. Paris, The He erected the Parisian Sainte-Chapelle as a Louvre, R.F. 1212. Fouilhoux 1898: 229. The shrine for what he believed to be the Crown of tomb is described in horrified terms by Dulaure Thorns and a fragment of the True Cross. Louis 1789: 410. purchased the relics in 1239–41 from Emperor 94 These are now sadly lost and not recorded in Baldwin II of Constantinople. Louis IX was visual terms. Fouilhoux 1898: 225. acutely aware of his image throughout his life 95 The Annunciation with Saints and Donors, and he fashioned himself as ‘lieutenant of God called The Latour d’Auvergne Triptych, c 1497. on Earth’, a title he had been invested with when North Carolina Museum of Art, gift of the he was crowned at Reims. Samuel H Kress Foundation, GL.60.17.61. 85 ‘L’an mil, cd lxxx et deux en julhet, Le 96 The Cordeliers retained possession of it until huictiesme nas quict sur terre, D’albanie enfant 1703, when it was returned to the Latour joliet, Le quel tra par mer conquerre, Escoce d’Auvergne family. aussi angleterre, Et les mectra en subjection, 97 Since the couple married in 1495 and are Par force d’armes et de guerre, Il en prandra believed to have had their first child in 1498, the pocession,’ The Hague, KB, 74 G 11: f 52v. inscription dates the painting to about 1497. Bremond Domat 1518. 98 Albany had no surviving legitimate children 86 The Hague, KB, 74 G 11: f 53r. Bremond with Anne de la Tour, thus his lands and Domat 1518. Albany is also referred to as properties passed to his niece, Catherine de ‘double prince’ in Domat’s introduction in the Medici. Evidence suggests that Albany had an Paris Manuscript: Paris, Bibliothèque Sainte- affair while in Scotland with Jean Abernethy, Geneviève, MS 936, f 3r. Bremond Domat who bore him a daughter, Eleanor Stuart. Later 1519. It should be noted that Albany’s father in life Albany appears to have sent for Eleanor harboured his own pretensions to both the and she travelled to France. Records show that thrones of Scotland and England. Eléonore Stuart married in October 1547, with 87 Evidence that Albany was interested in the great pomp and in the King’s presence, to Jean virtues required by a ruler may be seen in the de l’Hôpital, comte de Choisy, gentleman of inclusion of a poem on good government in the king’s chamber and tutor of Francois, duc the Hague Manuscript. The Hague, KB, 74 G d’Alençon. 11: f 55r. Bremond Domat 1518. The poem is 99 ‘necnon de ligno sanctissime Crucis quedam accompanied by a figure of a fool and signed pars, que a majoribus predecessoribus dictorum by the author, Domat, ‘Do’. See Coombs 2014: Ducis et Ducisse a partibus ultramarinis 294–6. transportate fuerunt in maxima reverentia 88 See note 14. habentur et custodiuntur divinum cultum 89 Fouilhoux 1898: 242–5; Noblet 2009: 73. decoremque,’ Paris A.N. J/1130, no. 25. 90 By this I refer to a Gothic/Renaissance hybrid. 100 Note the importance placed on crowns in relation In relation to this concept of hybridisation see to the arms: Leo X’s arms bear the papal tiara, Burke 2016. the royal arms of France and Scotland bear their 91 Obits des anciens comtes d’Auvergne. BnF MS. respective royal crowns, while both examples of Baluze 208, f 229r–230r; Baluze 1708, II: 201; Albany’s arms bear a ducal coronet. transcribed by Fouilhoux 1898: 242–5. 101 For the treaty see Teutlet 1851, I: 39–43. 92 Noblet goes some way towards this suggestion. Albany spent much of his later career engaged Noblet 2009: 162. in the complex diplomacy surrounding securing 93 On 15 February 1473 a papal bull had been James V a French bride. See Bapst 1889. granted by Pope Sixtus IV authorising the 102 Work on this subject is forthcoming, the installation of a convent for the Cordeliers preliminary findings of which were presented in at Vic-le-Comte. Though Jean III chose to be July 2017 at Rambouillet, Paris. The duration 212 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

of Albany’s three visits to Scotland intersect 107 Baluze 1708, I: 354; Stuart 1940: 200. An notable periods of building activity at four inventory taken of Albany’s belongings taken of the royal residences: Edinburgh Castle, after his death in 1536 suggests he had over Falkland Palace, Holyrood Palace and Stirling 50 of these medals still in his possession. See Castle. A more detailed look at the accounts Fouilhoux 1926: 351; Coombs 2014: note 16. provides insights into this activity, such as the 108 ‘Item ane lytill box of gold with the haly croce record of ‘ane gret lantern of glas for to hyng send be the duk of Albany to the kingis graice’, in the palice of the abbay of Halyrudhous to Thomson 1815: 66. On another occasion a hald lycht thairin’. It also provides evidence package was conveyed from Albany, via the of French workmen who either accompanied President of Toulouse, to James V containing a Albany to Scotland or were summoned from gift of a little dagger. Stuart 1940: 203. France. Other written accounts hint at further 109 Bapst 1889: 292–3. work undertaken by the Duke, such as George 110 See note 2. Majoribanks passing reference to ‘the auld touer 111 Around 1390, Jean, duc de Berry had set of Holyrudhouss, wich wes foundit by the said about rebuilding and improving a number of ducke’. For domestic improvements see Stuart the properties in the Auvergne, including the 1940: 65–78; Thomas 2005: 55–90; Blakeway château at Vic-le-Comte. 2015: 150–6. 112 Généalogie de Madame Anne de la Tour, 103 London, British Library Sommaire de l’origine, princesse de l’Écosse. KB 74 G 11, f 55v. 1518, description et merveilles d’Escosse (1538) by Koninklijke Bibliotheek, Den Haag. Jehan dit Le-Fresne Des-Montiers, G.5441, f 113 See note 74. xv. See also: Millar 1903: 27–38; Young 1952, 114 The occasion of the marriage of Madeleine de la 1–11. Millar makes the suggestion that Albany Tour into the Medici family proved an excellent may have employed Des-Montiers. Millar 1903: opportunity to promote the Boulogne and 34. d’Auvergne lineage. This was achieved through 104 For St Machar’s see Geddes & Duguid 1888; the commission of genealogical manuscripts Shire 1996: 62–96. and included the Hague Manuscript and two 105 In 1517 Gavin Dunbar participated in the later copies: BnF, fr 5227 and BnF fr 20209. In negotiations surrounding the Treaty of Rouen 1531 a genealogical text attributed to Geoffrey with Albany and Charles, duc d’Alençon, Tory was utilised in the marriage negotiations providing him with an opportunity to become surrounding the match between Catherine de well acquainted with Albany. By 1518 he Medici and the dauphin. This text survives in was preceptor to King James V and that same three copies: a New York manuscript edited year he was recommended to Pope Leo X by by G Cohen in 1944; BnF fr 4653, f 19r–25r, Albany for provision to the Priory of Whithorn. and included at the back of BnF fr 20209, He was archbishop of Glasgow from 1524 to f 77r–84v. Cohen 1944; Beaune & Lequain 1547. 2005: 414–15. The attribution to Tory rests 106 For this medal see Coombs 2014. A letter on the inclusion of the devise ‘ne plus, ne from Thomas Wharton to Wriothesley in 1546 moins’. It is likely that Albany may have had suggests that gold medals struck for Albany some hand in commissioning this work and were made from Scottish gold found on a connection between Albany and Tory is of Crawford Moor. Brewer 1920 XXI, part 2: 481. great interest. At Crawford Moor, ‘Johne Drane’, a Frenchman 115 See Brantome 1864–82, vol 3: 170–1; Bentley- was employed as a refiner, washer, and melter Cranch & Marshall 2003: 298. of gold. Dickson 1877–1905, vol V: 10–12, 116 For these events see Bouillet 1842: 48–73; 18–20. When Albany departed Scotland, he left Teilhard 1888: 22–43; Brewer 1920 VI: nos on good terms with James V and it appears that 811, 831. there was always the possibility that he might 117 Fouilhoux 1926: 348. return. Rumours circulated later in the 1520s 118 Teulet 1851, I: 15–16. He also uses this address that Albany and Robert Stuart d’Aubigny were in Paris A.N. J/1130, no. 25. planning to amass boats to take to Scotland. See 119 Leproux 2004: 78. Hannay 1954: 144. 120 Bergenroth 1866: 700. THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 213

121 Brewer 1920 IV: 1010, 1045–6, 1054, 1085, Est engrave en une plaque de-fonte au milieu du 1102. maistre autel du ceste eglise comme sensuit. 122 Rustici (1475–1554) moved from Italy to Paris MS Baluze 208, f 230v. and entered Francis I’s service in 1528. On 23 Généalogie fabuleuse d’Anne de la Tour, comtesse August 1529 Albany’s apostle figures were de Boulogne, femme de Jean Stuart, duc transported from Paris to Vic-le-Comte. Given d’Albany. MS fr 20209. Rustici’s ties to the Medici family, perhaps Inventaire des titres et chartes de la maison de Albany became acquainted with his work during his time in Italy in 1524–5. Boulogne, avec les armoires trouvées au 123 A fortification study for an unknown location chasteau de Vic. MS fr 4652. c 1525. Florence, Uffizi, U10510r. Recto: Obits des anciens comtes d’Auvergne. MS Baluze ‘Fortezza opinione / del Duca dalbania’, Verso: 208, f 229r–230r. ‘Forteze; openione delducha / dalbania’. Recueil de documents pour servir à l’histoire des The inscription on the verso appears to be in maisons de Poitiers, Boulogne et Blois. MS fr Sangallo the Younger’s hand. It is especially 4653. interesting that the drawing provides evidence of Registre d’armes ou armorial d’Auvergne, dédié the collaboration between Albany, in a military par le hérault Guillaume Revel au roi Charles capacity, and an eminent Italian architect. VII. MS fr 22297. Frommel & Adams 1994: 193, 386. 124 Rustici profited from study of the Medici Revenus du comté d’Auvergne, avec les revenus sculpture in the garden at San Marco, and particuliers et les portraits des châteaux. Ars Vasari said that Lorenzo de Medici placed him MS 4264. in the studio of Verrocchio. His Mercury was bibliothèque sainte-geneviève, paris commissioned by Cardinal Giuliano de Medici Chronique d’Écosse & généalogie des rois (later Pope Clement VII) in 1515 as a fountain d’Écosse. MS 936. figure for the courtyard of Palazzo Medici in Florence. Antonio da Sangallo the Younger was Sacramentaire de Senlis. MS 126. one of several artists hired to design the Villa british library Madama by Cardinal Giulio de Medici. He was Sommaire de l’origine description et merveilles personally responsible for the final design of the d’Escosse (1538) by Jehan dit Le-Fresne Des- building. Montiers, G.5441. 125 Noblet 2009: 49. 126 Baluze 1708, I: 684–5; Stuart 1940: 99. koninklijke bibliotheek, the hague 127 Chassaing 1818. Généalogie de Madame Anne de la Tour, princesse 128 Fouilhoux 1898: 300; Gatouillat & Hérold de l’Écosse. KB, 74 G 11. 2011: 180. national archives of scotland, edinburgh Bull of Pope Leo X, taking James V and his REFERENCES: MANUSCRIPTS Kingdom under his Protection and Affirming archives nationales, paris the Authority of John, Duke of Albany as Tutor Minutier Centrale, CXXII, 15; 23 August 1529. of the King and Governor of the Kingdom, 13 Papal Bull of Pope Leo X, Rome, 21 June, 1520. July, 1520. CH7/46. J/1130, no. 25. Papal Bull of Pope Clement VII, Rome, 30 May, 1524. J/1141, no. 7. REFERENCES: PUBLISHED TEXTS bibliothèque nationale de france, paris Baluze, E 1708 Histoire généalogique de la maison Ballade Faicte pour la venue du duc d’Albanie d’Auvergne, 2 vols. Paris: Antoine Dezallier. en Ecosse translatée d’escocois en Francoys Bapst, E 1889 Les Mariages de Jacques V. Paris: selon la lettre. MS fr 20055, f 73v. Librairie Plon. Couteau, Jean Histoire généalogique des comtes Beaune, C & Lequain, É 2005 ‘Histoire et mythe d’Auvergne et de Boulogne. MS fr 5227. familiaux chez les Boulogne Auvergne’, 214 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017

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Toynbee, M R 1948 ‘John Stewart, Duke of Albany Wood, M (ed.) 1933 Flodden Papers, Diplomatic and Vic-le-Comte’, The Stewarts 8: 149–55. Correspondence between the Courts of France Wessel, R 2003 ‘Die Sainte-Chapelle in Frankreich. and Scotland 1507–1517. Edinburgh: Scottish Genese, Funktion und Wandel eines sakralen History Society. Raumtyps’, unpublished PhD dissertation, Young, M L M 1952 ‘Jean des Montiers, dit le Düsseldorf University. Fresse, and his account of Scotland (1538)’ French Studies VI, no. I: 1–11. THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 217 OT: Source for the Old Testament scene only. Christ carrying the Cross (Mt 27:32; Mk 15:20–2 etc) Kiss of Judas and arrest Christ (Mt 26:47–55; Mk 14:43–7 etc) Derision of Christ (Mt 26:67–8; Mk 14:65 etc) Jesus accused before Caliph (Mt 26:57–66; Mk 14:53–64 etc) The flagellation of Christ (Mt 27:26; Mk 15:15 etc) Jesus crowned with thorns (Mt 27:27–31; Mk 15:16–20 etc) etc) Ecce Homo (Mt 27:15–23; Mk 15:6–14 etc) Jesus condemned by Pilate (Mt 27:24–6; Mk 15:15 The Last Supper (Mt 26:26–9; Mk 24:22–5 etc) Agony in the Garden (Mt 26:30, 36–46; Mk 14:26, 32–42 etc) Descent into Limbo (Apocryphal) Descent from the Cross (Mk 15:42–6; Lk 23:50–3) etc) Burial (Mt 27:57–61; Mk 15:42–7 Resurrection Apparition of Christ to Peter (Lk 24:34) Appearance of Christ to the Women (Mt 28:9–10) The appearance of Christ to the Disciples at Emmaus (Mk 16:12–13; Lk 14:13–32) Doubting Thomas (Jn 20:24–9) The Apostles (Mt 28:16–20; Mk 16:15–16 etc) St Peter chosen as head of the Apostles (Lk 22:32; Jn 21:15–17) The Ascension (Mk 16:19; Lk 24:50–1 etc) The Pentecost (Mk 16:17; Lk 24:49 etc) South Window – New Testament Mk 11:7–9; Lk 19:35–8 etc) Christ’s entry to Jerusalem (Mt 21:7–9; Speculum Humanae Salvationis. SHS: Source of the typology: 1: The Windows of the Sainte-Chapelle, Vic-le-Comte: The Typological Programme* Typological Appendix 1: The Windows of the Sainte-Chapelle, Vic-le-Comte: Bible des Pauvre. Moses lifted up the bronze snake in the wilderness (Num 21:4–9)Moses lifted up the bronze snake in wilderness (Num Christ on the Cross (Mt 27:33–44; Mk 15:23–32 etc) Isaac carrying wood for his sacrifice (Gen 22:6–8) David victorious over Goliath (1 Sam 17:48–51) Achior beaten on the order of Holofernes (Judith 6:10–13) King condemns the wise men of Babylon (Dan 2:12–30) Abner betrayed and killed by Joab (2 Sam 3:22–7) Abner betrayed and killed by Joab Descent from the Cross of King Aï (Josh 8:29) 2 Kings 4:18–37) The Tower of Babel (Gen 11:1–9) North Window – Old Testament (Unknown) Joseph accused by Potiphar (Gen 39:7–20) 12 (BP) 11 (BP & SHS) 13 (BP) 5 (BP & SHS) 6 7 (SHS) Drunkenness of Noah (Gen 9:20–7) 8 (NT: BP & SHS) 9 (OT: BP & SHS) Elisha insulted (2 Kings 2:22–4) 10 (NT: BP) Job on the Dung Heap (Job 2:7–13) Daniel revealing the meaning of Nebuchadnezzar’s dream as 2 (BP & SHS) 3 (NT: BP & SHS) 4 (BP) 24:11–14) The penitence of David (2 Sam 12:1–15, Manna from Heaven (Ex 15:1–36) 14 (BP) 15 (BP & SHS)16 (BP & SHS)17 (Unknown) Jonah swallowed by the whale (Jon 1:15, 2:1) 18 (Unknown) Jonah rejected by the whale (Jon 2:11) 19 1:11–14) Intrigue of Nathan and Bathsheba (1 Kings (OT: BP) A resurrection of the Old Testament (1 Kings 17:17–24 or 20 (NT: BP)21 (Unknown) Hospitality of Abraham (Gen 18:1–8) 22 (Unknown)23 (BP & SHS) 20:1–13) Moses hits the rock a second time (Num Benediction and death of Jacob (Gen 48–9) 24 (SHS) Moses and the Burning Bush (Ex 3:1–10) Eli carried to Heaven (2 Kings 2:8–13) 1 (BP & SHS) Entry of David into Jerusalem (1 Sam 17:54, 18:6–7) Group BP: Source of the typology: NT: Source for the New Testament scene only. Unknown: source of typology unknown, perhaps an original composition. * This follows initial work by Luneau 1995: 17–26.